Run: 2026-02-19-01KHT002160Q75PTRGHK4NE258

Run Details

Model:
GPT-5.1
Duration:
1m 23s
Cost:
$0.050036
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Mystery genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The smell hit Harlow halfway down the ladder, sharp and sweet like burnt hair and sugar. Her boots met the concrete with a dull slap. Lights glared along the low tunnel, too bright, bouncing off damp brick and the yellow tape that blocked the track ahead. A handful of uniforms lingered back near the ladder. The real cluster, a knot of white scene suits and one plain suit, stood thirty feet on, around something on the ballast between the rails. Harlow straightened, rolled her shoulders once, and walked under the tape. "Quinn, here already." The plain suit turned, face pale in the harsh light. DI Patel. His tie hung crooked, his eyes looked as if they had seen enough. "You win the prize for most enthusiastic." "You dragged me out of bed for a trespasser on a line that never opens," she said. "Not trespasser." He tipped his chin at the body. "Graeme Tolland. Forty-eight. Civil engineer. Contractors found his passcard on the platform above, clocked in at three this morning. No one saw him come down." Harlow stepped closer. The air hummed. Not with the low thrum of live current, the power had gone off, but with something else, something that made the small hairs on her arms stand. The man lay half on his back, legs twisted against the nearest rail. His clothes hung neat. Navy suit, pale shirt, silk tie, the sort of outfit that picked its own dry cleaner. His face had a strange serenity, eyes half open, mouth slack. The skin from his left palm up to his forearm blistered and blackened in a branching pattern. It crept over his chest like frost on glass. "Electrocution," Patel said. "He comes down, trips, hits the third rail. Cooks himself. Simple." Harlow crouched. The burnt smell thickened, undercut by copper that crawled up her nose. "Where are his shoes?" she said. Patel frowned. "Under him, probably. He rolled." "He would not roll out of his shoes," she said. She placed two fingers against the ballast, felt grit dig under her nails. White chalk flakes, disturbed in a straight line from the far wall to where the man lay. No drag marks. No scuff where he had slipped. A SOCO in a white hood turned, camera hanging from her neck. "Detective Quinn, careful there." "Relax, Briggs." Harlow rose. "You mapped footwear impressions yet." "Prelim," Briggs said. "Plenty of boot prints from the lads who found him. Some trainer prints. Nothing you would not expect." "Show me Tolland's," Harlow said. Patel sighed. "We are in a bloody tunnel, Harlow. People walk. Feet make marks. Man comes down, goes for a wander, trips into danger. It happens." She looked at him. He looked away first. Briggs flipped open her tablet and brought up the screen. Blue grid, ghostly white shapes overlaid. She pointed. "These are from the engineers, steel-capped. These from Fire Brigade. These from Patel and you lot. Only one set of soles in leather, size ten, narrow. Started about four metres from the ladder." "So he teleported," Harlow said. Briggs hesitated. "We cannot see his approach. There is a gap. Dust undisturbed until that point." Harlow stepped away, walked from the ladder toward the body, slow and straight. She counted under her breath. One, two, three, four. At four metres a fan of disturbed dust began, narrow, like someone had dropped from above and steadied themselves. She looked up. The tunnel ceiling loomed, arching low. Conduits ran along it in rusted brackets. No hatch, no access panel, nothing. "Quinn," Patel said, "Public Transport are already sharpening pitchforks. They want this closed as an accident before the evening rush. Do not start on teleportation." "Do not start on stories that do not fit," she said. She knelt by Tolland again. The burns on his arm did not form the clean oval she expected from contact with a single rail. They spread in thin filaments, like the tracery on a leaf. They converged at his palm. "Has anyone moved his hand," she said. "No one has touched him," Briggs said. "We waited for you, your favourite complaint." The left hand lay slightly open. Charred skin flaked from the fingertips. Something small and round glinted black in the centre of his palm. Harlow took a breath. Patel muttered. "Forensics have gloves, you know." "You called me," she said. She pulled a fresh pair from the dispenser on the rail, snapped them on, and eased the fingers apart. The object stuck for a moment, then came free with a faint crackle. A coin lay on her palm. Old, worn flat in places, its surface dark. Not a pound. Not anything she recognised. One side bore a face that had lost all detail except the outline of a crown. The other had been carved over with a symbol. Two intersecting circles, lines fanning out like sunrays, but crooked, as if whoever had done it knew the shape by memory, not by sight. "Local currency?" she said. Patel peered. "Looks like junk. Souvenir thing. Hipster tat from Camden." "Camden does many crimes," Harlow said. "Counterfeit Roman coins rarely top the list." She felt weight against her wrist, the drag of her own leather watch. Three years since Morris had given it to her as a joke. Survival timer, he had called it. Eighteen years, you get a carriage clock. Until then, you get Army surplus. She slid the coin into a paper evidence bag, sealed it, passed it to Briggs. "Tolland carried anything else unusual?" "We bagged his wallet, phone, passcard, keys," Briggs said. "Standard." "No jewellery," Harlow said. "Wedding band," Briggs said. "On his chain, under his shirt. Wife died last year, from what Patel heard." Harlow touched the knot of Tolland's tie, tight and straight. "He dressed careful," she said. "He would not wander into a maintenance tunnel for fun. Who logged him in." "Security guard upstairs," Patel said. "Name of Harris. He says Tolland waved, went through the gates, like any other night shift." "Night shift," Harlow said. "It is his pattern," Patel said. "He likes the quiet, according to his file. Comes in, checks readings on the old lines that still feed power, updates the system. Now the old line bites back. Sad, but convenient for the tabloids." Harlow stood. Something itched under her ribs. Not fear. Irritation. The kind she had felt the night Morris had said, Leave it, Harlow, some things do not want explaining. She turned from the body. "Show me where he should have gone," she said. They moved along the tunnel. The concrete underfoot smoothed out, less ballast, more walkway. Old posters peeled from the walls, colours long bled away. A flaking sign hung crooked. AUTHORIZED PERSONNEL ONLY ELECTRICAL ACCESS The door below the sign had three locks. Pad, deadbolt, chain. All hung loose. The padlock lay broken on the floor, guts of twisted metal exposed. "When did this get snapped," Harlow said. "Harris noticed at first sweep this morning," Patel said. "Doors open sometimes. Contractors take shortcuts." She crouched by the lock. The metal had not sheared clean. It had warped, edges curled outward as if something had pushed from the inside. "Thermal expansion," Patel said. "Heat from the rails, from the, whatever. Melted it." "The rails are thirty feet away," she said. He clicked his tongue. "You know what I miss about burglary jobs, Harlow? They never argued back." She pushed the door with two fingers. It swung inward, hinges squealing. Beyond lay a narrow corridor, darker, lined with cables that disappeared into the gloom. Harlow stepped over the threshold. The air changed. Cooler, but thicker. A faint smell rose, under the dust and oil. Spice. Old paper. A hint of something herbal, bitter as wormwood. Her chest tightened, as if the corridor pressed on her. "Briggs, with me," she said. "Patel, stay with Tolland." "Since when do you outrank me," Patel said. "Since you volunteered me to the superintendent as 'our expert in odd things'," she said, without turning. She heard his low swear, then the shuffle of his shoes as he went back to the body. Briggs fell in beside her, camera raised. The corridor bent left after ten metres, then right, coiling like a question mark. On one wall, someone had painted over graffiti with thick grey, the rushed strokes still visible. The paint stopped short of the floor. Harlow knelt. The torch beam cut a white strip along the skirting. Etched into the concrete, half-hidden by the paint run-off, the same intersecting circles as on the coin repeated at regular intervals. Small, neat, carved by a hand that cared. "See these," she said. "Tagger's mark," Briggs said. "They all have one. Signature." "Taggers do not come down into disused electrical corridors," Harlow said. "They prefer trains that move." Her gloved finger traced the groove. Her skin prickled. A faint static crackled under her nail. She withdrew her hand. "Take close-ups," she said. Briggs snapped away, the flash throwing the shapes into harsh relief. Harlow moved on. At the end of the corridor, it opened into a small chamber. Low ceiling, bare walls, one ancient fuse cabinet with most of its guts ripped out. Empty cable trays. No tools, no chairs, nothing that spoke of regular use. In the centre of the concrete floor, white dust marked a faint circle, almost scrubbed away. Lines radiated from it. Smudges. The footprint of some careful ritual stomped out by a clumsy shoe. "Someone drew something here," Harlow said. "Contractors chalk out safe zones all the time," Briggs said. "They do not want to step on live bits." "It takes effort to wipe marks this clean," Harlow said. "Someone did not want a pattern seen." She paced the distance from the circle to each wall. Equal. The centre of the chamber exactly. Her gaze caught on a darker patch near the far corner. She went to it. The concrete had cracked there in a spiderweb, thin fissures around a central chip. As if a weight had dropped, hard. "Harlow," Briggs said. "You ever get tired of staring at floors." "They hold the story up," Harlow said. She picture Tolland standing in the circle, coin in his hand. Something building around him, in him. Heat without flame. Light without source. The crack of that something hitting the ground and, a moment later, his body appearing four metres from the ladder with burns that grew out of his palm. She swallowed that picture before it could settle. "His phone," she said. "Where did you find it." "In his inside jacket pocket," Briggs said. "Why." "If I stand in the middle of a chalk circle and perform some idiocy, I do not keep my expensive smartphone over my heart," Harlow said. "Not unless I expect to live." She walked back towards the corridor entrance. As she reached it, something tugged at her eye. A glint under a cable tray near the floor. She crouched once more, breath steady, and reached under. Her fingers brushed metal, cold despite the stuffy air. She worked it free. A small brass compass lay in her hand. No chain. Its casing wore a greenish patina, the kind that took years. The face under the cloudy glass had no numbers. Only symbols arranged around the edge, tight and intricate. The needle did not lie along any obvious north. It pointed to the wall to her right, and quivered. "Lost property," Briggs said. Harlow flicked open the lid, closed it again, weighing it. "Not the sort security guards hand in," she said. Her thumb brushed the sigils etched into the rim. Protective, some part of her whispered, from a place older than procedure and paperwork. The needle pivoted, swung away from the right-hand wall, and locked instead on the solid slab directly opposite the corridor. It jerked, as if some invisible magnet on the other side had snapped awake. The concrete had no door, no crack, only the faint ghost of a bricked-up arch, shape just visible under layers of grime. "Harlow," Briggs said. "Why is that thing moving." Harlow stepped closer to the wall. The compass strained in her hand, needle pressed so hard against the glass it shivered. "Because this is not a wall," she said. She lifted her left hand and placed her palm flat against the faint arch. The cold bit through glove and skin. Under her fingers, she felt the same symbol, shallow but there, carved long ago and filled in with dirt. Two circles, intersecting. Her pulse hitched. Something hummed. Not in her ears. In her bones. "Step back," she said. Briggs did not argue this time. Harlow heard her retreat, the soft scrape of paper suit against concrete. The humming rose, teeth-on-glass, and the compass needle spun in tight frantic circles. The carved lines under Harlow's palm warmed, then burned. Her glove smoked, the smell harsh. She snatched her hand away. The wall breathed. The concrete bulged inward, then outward. The outline of the arch brightened, pale light bleeding along the mortar lines of long-buried bricks. Dust sifted from the ceiling, fine, grey, coating her shoulders. "Harlow," Briggs shouted. "The hell is that." The centre brick crumbled without warning. It did not crack, it powdered, sucked inward into a darkness that looked too thick, too deep for the tiny room. Cold wind punched out of that darkness, hard enough to slam Harlow two steps back and slam Briggs against the fuse cabinet. The torchlight flickered, died. For a moment, the only illumination came from behind the falling dust veil, a dull, wrong glow that painted the chamber in sour yellow. From the widening gap, something reached. A hand, long-fingered, skin grey as wet newspaper, grasped the broken edge of the brickwork and began to pull itself through.
created_at"2026-02-19T03:44:45.65Z" 2/19/2026, 3:44:45 AM
model"openai/gpt-5.1-20251113"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency7634
moderation_latency(null)
generation_time82465
tokens_prompt4671
tokens_completion4360
native_tokens_prompt4157
native_tokens_completion4484
native_tokens_completion_images0
native_tokens_reasoning1391
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.05003625
router(null)
provider_responses
0
endpoint_id"764eb97f-8bab-4326-b29b-7a8799b00a70"
id"resp_089078a67779e10f016996872de6808190afbce30f2823b990"
is_byokfalse
latency196
model_permaslug"openai/gpt-5.1-20251113"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771472685-ahFkoDPAh1yZOtofq0aP"
upstream_id"resp_089078a67779e10f016996872de6808190afbce30f2823b990"
total_cost0.05003625
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags49
adverbTagCount0
adverbTags(empty)
dialogueSentences84
tagDensity0.583
leniency1
rawRatio0
effectiveRatio0
97.84% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2312
totalAiIsmAdverbs1
found
0
adverb"slightly"
count1
highlights
0"slightly"
80.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found
0"Patel"
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
67.56% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2312
totalAiIsms15
found
0
word"silk"
count1
1
word"loomed"
count1
2
word"weight"
count2
3
word"standard"
count1
4
word"gloom"
count1
5
word"etched"
count2
6
word"traced"
count1
7
word"glint"
count1
8
word"intricate"
count1
9
word"quivered"
count1
10
word"flicked"
count1
11
word"pulse"
count1
12
word"flickered"
count1
highlights
0"silk"
1"loomed"
2"weight"
3"standard"
4"gloom"
5"etched"
6"traced"
7"glint"
8"intricate"
9"quivered"
10"flicked"
11"pulse"
12"flickered"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences227
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences227
filterMatches
0"watch"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences261
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen35
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2301
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions49
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions69
wordCount1699
uniqueNames8
maxNameDensity1.71
worstName"Harlow"
maxWindowNameDensity3.5
worstWindowName"Harlow"
discoveredNames
Harlow29
Patel12
Briggs18
Tolland3
Morris2
Army1
Leave1
Old3
persons
0"Harlow"
1"Patel"
2"Briggs"
3"Tolland"
4"Morris"
places(empty)
globalScore0.647
windowScore0.5
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences119
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.435
wordCount2301
matches
0"Not with the low thrum of live current, the power had gone off, but with something else, something"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences261
matches
0"swallowed that picture"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs126
mean18.26
std14.87
cv0.814
sampleLengths
016
164
211
335
417
534
633
770
814
914
106
112
125
1310
1439
1512
164
179
1821
195
202
2124
228
2318
2433
255
262
2714
2841
293
3019
3125
3211
3340
347
3514
3624
376
385
395
4032
4170
424
432
449
4513
4644
4715
485
4910
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences227
matches
0"been carved"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs303
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences261
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1707
adjectiveStacks0
stackExamples(empty)
adverbCount48
adverbRatio0.028119507908611598
lyAdverbCount8
lyAdverbRatio0.0046865846514352666
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences261
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences261
mean8.82
std6.16
cv0.699
sampleLengths
016
19
221
39
425
511
613
72
813
97
1017
119
1225
133
143
1527
1613
174
1816
1911
2017
219
223
2311
242
2512
266
272
285
2910
3013
3117
323
336
3412
354
364
375
383
3918
405
412
4224
434
444
4510
466
472
4833
495
58.37% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.37547892720306514
totalSentences261
uniqueOpeners98
41.15% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences162
matches
0"All hung loose."
1"Only symbols arranged around the"
ratio0.012
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount48
totalSentences162
matches
0"Her boots met the concrete"
1"His tie hung crooked, his"
2"He tipped his chin at"
3"His clothes hung neat."
4"His face had a strange"
5"It crept over his chest"
6"She placed two fingers against"
7"She looked at him."
8"He looked away first."
9"She counted under her breath."
10"She looked up."
11"She knelt by Tolland again."
12"They spread in thin filaments,"
13"They converged at his palm."
14"She pulled a fresh pair"
15"She felt weight against her"
16"She slid the coin into"
17"She turned from the body."
18"They moved along the tunnel."
19"She crouched by the lock."
ratio0.296
95.80% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount118
totalSentences162
matches
0"The smell hit Harlow halfway"
1"Her boots met the concrete"
2"A handful of uniforms lingered"
3"The real cluster, a knot"
4"Harlow straightened, rolled her shoulders"
5"The plain suit turned, face"
6"His tie hung crooked, his"
7"He tipped his chin at"
8"Harlow stepped closer."
9"The air hummed."
10"The man lay half on"
11"His clothes hung neat."
12"Navy suit, pale shirt, silk"
13"His face had a strange"
14"The skin from his left"
15"It crept over his chest"
16"The burnt smell thickened, undercut"
17"She placed two fingers against"
18"A SOCO in a white"
19"She looked at him."
ratio0.728
30.86% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences162
matches
0"As if a weight had"
ratio0.006
70.39% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences69
technicalSentenceCount7
matches
0"Lights glared along the low tunnel, too bright, bouncing off damp brick and the yellow tape that blocked the track ahead."
1"Not with the low thrum of live current, the power had gone off, but with something else, something that made the small hairs on her arms stand."
2"Two intersecting circles, lines fanning out like sunrays, but crooked, as if whoever had done it knew the shape by memory, not by sight."
3"It had warped, edges curled outward as if something had pushed from the inside."
4"The crack of that something hitting the ground and, a moment later, his body appearing four metres from the ladder with burns that grew out of his palm."
5"It jerked, as if some invisible magnet on the other side had snapped awake."
6"For a moment, the only illumination came from behind the falling dust veil, a dull, wrong glow that painted the chamber in sour yellow."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags49
uselessAdditionCount2
matches
0"The plain suit turned, face pale in the harsh light"
1"she said, without turning"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags47
fancyCount1
fancyTags
0"Briggs shouted (shout)"
dialogueSentences84
tagDensity0.56
leniency1
rawRatio0.021
effectiveRatio0.021
89.7325%