Run: 2026-02-19-01KHT02J1AY4FBQB1CKG9GFSW2

Run Details

Model:
GPT-5.1
Duration:
1m 32s
Cost:
$0.060834
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Romance 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="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</description> </location> </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 romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. 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
Rory yanked the door open before the second knock landed. Lucien leaned on the frame as if he owned it, one hand on the ivory handle of his cane, heterochromatic gaze sweeping over her with calm appraisal that hid nothing. "Aurora," he said. "You look awake. That is fortunate." Her fingers tightened on the edge of the door. "Lucien." He looked exactly as he had the last time she saw him, neat charcoal suit, platinum hair slicked back with the sort of precision that made her want to run her hands through it just to ruin it. Amber eye, black eye, both steady. No apology in either. He smelled faintly of expensive cologne and cigarettes he never lit. "I did not interrupt anything fundamental, I hope." "You interrupted me eating leftover korma out of the container," Rory said. "So unless you came to critique my table manners, you can sod off." She started to close the door. The cane shot out, neat and fast, wedged in the gap before the latch met the frame. The force reverberated through her arm. "I would prefer you did not do that," he said. "Someone less patient stands three steps behind me." Her heart lurched. She glanced past him on instinct. The narrow stairwell outside lay empty, the chipped green paint and bare bulb exactly as usual. "Your imagination is slipping," she said. "No one there." "There is, in fact, an Ifrit bound under my skin who wants to drag you to Avaros by your pretty wrist," he said. "I refer to him." He smiled without warmth. "Bonsoir to you too," Rory muttered. She let the door open a fraction more. That brought him closer, the line of his shoulder brushing the chain still latched across. His gaze dropped to the metal. "A chain, Aurora," he said. "Three deadbolts and a chain." "Eva is thorough," she said. "Occupational hazard when you collect cursed paperweights for fun." "Allow me inside." "You have a phone," she said. "Text like a normal criminal." "Phones leave records," he said. "Door chains, less so." "I don't work for you." "No," he said. "You work for Madame Cheung." "Exactly," she said. "So you turning up here smells wrong." Lucien sighed, soft, almost theatrical, but his eyes had the sharp focus she remembered from darker nights. "Aurora," he said, voice dropping, the French lilt more pronounced. "You are in danger." There it was, the word people used when they wanted past her suspicion. She tasted bitterness at the back of her throat. "You said that last time," she said. "You remember how that went." His jaw twitched, the smallest flicker. "I remember you walking away from the docks with a pulse," he said. "Which you would not have done if you had listened to your own instincts instead of mine." She unhooked the chain with short, angry movements and stepped back. "Get in," she said. "Say whatever you came to say and then get out." Lucien crossed the threshold with an ease that made her flat feel smaller. Close quarters turned his presence dense, oppressive and magnetic at once. Ptolemy appeared from under the sagging armchair, striped tail high. The cat planted himself in front of Lucien, sniffed his polished shoes, then sneezed. "A connoisseur of souls," Lucien said. "Bonjour, petit roi." Ptolemy turned his back and trotted to Rory, rubbing against her shins. "He hates everyone," she said. "Useful quality," Lucien said. "Keeps expectations low." He looked around. Books piled on every flat surface, rolls of parchment in cardboard tubes, half a dozen sticky notes clinging to the side of an overflowing desk. The air carried turmeric and cumin from the curry house below, threaded with cat hair and old paper. "This is quaint," Lucien said. "It is rent-controlled," Rory said. "Shoes off." He gave her a flat look. "I am hunted by angels and debt collectors, ma chérie, not by your linoleum." "Then bleed on the stairs, not Eva's rug." He frowned, then actually toed off his shoes with a short, annoyed motion, lining them precisely by the door. The fact that he did it made something tight in her chest loosen, then knot twice as hard. "You said danger," Rory said. "Start explaining." He rested both hands on top of his cane, fingers pale against the dark wood. "Two nights ago someone posted an open contract," he said. "Your name, three photographs, the address above Silas's bar." Her stomach dropped. "An open contract where." "In my circles," he said. "Not on the internet, Aurora. In the parts of London where the pavements eat men and spit out the teeth." "You talk in poetry when you know I'm close to punching you," she said. "It is my nature," he said. "Listen. The contract came from Avaros code. Old mark, old sigils. The bounty pays in souls, not sterling." "So some demon wants me," Rory said. "You swim in that end of the pool. Tell them I am flattered and decline politely." "The demon who wants you," he said, "is my father." Silence swelled between them, thick enough to chew. Her laugh came out thin. "Right," she said. "Because my life was not messed up enough." He watched her face as if cataloguing each change. "I would consider it a personal favour," Lucien said, "if you did not become his property." "There it is," she said. "The favour." He tilted his head. "You owed me one, as I recall," he said. "You left before you could repay." Her cheeks burned. The memory surged up fast: the Bristol warehouse, rain soaking through her hoodie, Lucien offering his coat and his hand and something hotter underneath, that wordless almost that had cracked her ribs from the inside. Then his deal on the table, his smooth voice telling Kareem's men that Rory was collateral until payment came through. "You tried to sell me," she said. "I put your name on a promissory note," he said. "There is a distinction." "Not from where I was standing." His expression hardened. "I needed them to believe us," he said. "They carry guns. I carry a cane. You carry spite. One of these things intimidates fewer men." "You could have warned me," she said. "You could have told me what you were doing." "You would have argued," he said. "Loudly." "Yes," she said. "Because you used me as bait." "I used myself," he said. "I knew Kareem would never hurt someone I marked as mine." Heat rushed to her face in a different way. "You marked me on paper," she said. "Then walked away when the money changed hands." "You walked away," he said. "You pulled off my ring and threw it into the dock." "It was on my finger for eight minutes." "Symbolism matters." They glared at each other, breath harsh, the room too warm. Ptolemy leaped onto the back of the sofa and started washing his paw with absolute indifference. Rory dragged a hand through her hair. "Fine," she said. "We hate each other, the past is a bin fire, and your dad from Hell wants my soul. Why now. I have done nothing worth a demon's time." Lucien watched her hand, the way her fingers trembled before she shoved them into the pocket of her track bottoms. "Last week," he said, "you delivered a package to Docklands, yes." "I deliver a lot of packages," she said. "This one required a signature from a Mr DiNozzo," he said. "American, loud, smelled like cheap rum and old blood." The image slotted in. The bald man with the snake tattoo on his neck, the way his fingers had brushed hers when he signed the docket, eyes lingering a breath too long. "He tipped me with a dollar bill," she said. "Generous sort." "That box contained a relic from Avaros," Lucien said. "My father wanted it. He paid handsomely to make sure it arrived in one piece." She stared. "Then your father can take it up with the delivery company," she said. "I provided excellent service." "The relic went missing," Lucien said. "The moment after you left his flat, the wards collapsed. The box turned to ash. Mr DiNozzo called his employer and used your name three times." The hairs on her arms rose. "You heard this where," Rory said. Lucien's lips pressed together. "In a bar under Vauxhall Bridge," he said. "Where men drink firelight and gossip. Word reached my father. He sees your face on security footage, hears your name, hears that you have slipped my protection. He draws the obvious conclusion." "That I nicked his antique," she said. "That I gave it to you," he said. "My father does not believe in coincidence." "You didn't," she said. "Non," he said. "If I had wanted you to steal from him, Aurora, you would not have noticed until the money hit your account." The way he said it made her shiver. "So he wants to punish you by taking something you own," she said. Lucien's gaze fixed on her scarred wrist for a second, that tiny white crescent. "He wants leverage," he said. "He thinks you matter to me." Her pulse jumped, traitorous. "And do I," Rory said. Lucien did not answer at once. He moved instead, slow and deliberate, circling the coffee table, stopping an arm's length away. The cane clicked softly against the wooden floor. "You bother me," he said. "Inconveniently often." "That is not an answer." "It is the only one you receive while my father's familiars sniff at your windows," he said. She swallowed. "What do you want me to do," she said. "Hide in the cupboard. Change my name again. I am fresh out of identities." "You stay here for the moment," he said. "I set wards. I call in a favour." "You," she said, "ask someone else for a favour." He smiled, short and sharp. "The world shifts," he said. "We adapt." She folded her arms. "And if I tell you to leave," she said. His gaze dipped to the thin fabric of her T-shirt, the faint outline of her bra beneath, lingered, then climbed back to her face with studied carelessness. "Then my father sends someone who does not care if you bleed on Eva's rug," he said. "I have met most of his employees. Their bedside manner disappoints." "You are not exactly Florence Nightingale." "I have stitched you up twice," he said. "You fainted only once." "I did not faint," she said. "I lost consciousness with attitude." His mouth twitched. A faint crack in the mask. He set the cane aside, propping it against the table. Without it he looked more dangerous, less civilised, as if that strip of wood held his monster in check. "What do these wards involve," Rory said. He took a breath, rolled his shoulders back. "I will draw sigils," he said. "Speak a few things that would curdle Silas's beer. Use a little blood. Mine. Yours." Her skin prickled. "How much blood," she said. "A cut," he said. "Enough to trace your name and mine together." "Together how." His gaze rested on her mouth. "As co-occupants of a space," he said. "The magic thinks in bonds, Aurora. It does not have a word for casual acquaintances." "So if we cast it," she said, "I belong to you." "For the purposes of my father's eyes," he said. "Yes." Her heart thundered. "I do not belong to anyone," she said. "Award-winning sentiment," Lucien said. "Unfortunately irrelevant when someone from Avaros counts your bones." He stepped closer. She did not step back this time. They stood close enough that she could see the thin silver line at his throat where someone had once tried to cut it. "You walked away last time I asked you to wear my mark," he said, quiet. "That was a ring," she said. "This is blood." "You consider this worse," he said. "It lasts longer," she said. His black eye darkened, pupil swallowing what little colour there was. "You think I release people with ease," he said. "You release them when the money clears," she said. His hand lifted, slow, giving her every chance to move. Fingers brushed a strand of hair from her cheek. His touch burned, demon-warm, the heat running along her jaw. "You walked away," he said again. "You did not see what I did to Kareem's men after you left." "I did not stay for the show," she said, voice hoarse. "No," he said. "You packed your bag and vanished. You changed your number. You stopped haunting my favourite street corners." "You cope," she said. "Poorly." Her breath caught. He lowered his hand, fist curling. "Say yes, Aurora," he said. "Let me do what I am good at. Let me make you untouchable to him." "And what does it cost me," she whispered. "You hate me a little more," he said. "I can live with that." She stared at him, at the sharp planes of his face, at the elegant monster she had kissed once in a stolen moment behind Silas's bar, seared into her memory like a burn. "I do not hate you," she said. His eyes flared. "That is unfortunate," he said. "Hate simplifies things." Ptolemy jumped down, tail flicking, then padded over to Lucien. The cat bumped his head against Lucien's shin. Lucien looked absurdly startled. "Traitor," Rory told the cat. Ptolemy meowed and wrapped himself around Lucien's ankle. "You see," Lucien said. "Even your familiar understands that rude men with questionable bloodlines sometimes serve a purpose." He reached into his inner pocket and pulled out a small, old-fashioned penknife, silver with delicate vines etched into the handle. "One cut," he said. "Then I salt the doors. Then my father loses interest and hunts for easier prey." "Easier than me," she said. "He has low standards." "You underestimate your own value," he said. She swallowed again, throat dry. "Fine," she said. "Do it." Relief flashed across his face so quick she almost missed it. He stepped to the cluttered desk, swept aside a stack of Eva's notes with care that spoke of long habit in other people's spaces, and cleared a circle the size of a dinner plate. He set the knife in the centre and took a stick of chalk from his pocket, white as bone. "You came prepared," she said. "I prefer to improvise only in bed and court," he said. Heat crawled up her neck. "Arrogant," she said. "Accurate," he said. He knelt and drew on the floor, looping symbols that hurt her eyes if she looked too long. Lines that curled back on themselves, small hooks that caught in her peripheral vision. The flat seemed to shrink around them, walls leaning in, the smells of curry and cat and ink thickening. Rory watched his hands, the steady competence, the way his cuff rode up to show a flash of forearm, pale and strong. "Give me your hand," he said without looking up. She hesitated for half a heartbeat, then stepped into the circle of light from the desk lamp and held it out. His fingers closed around her wrist, cool against her pulse. Thumb over the small crescent scar. His gaze flicked to her face, a question she refused to answer sitting in his eyes. "This will hurt," he said. "Briefly." "I survived law reading lists," she said. "I will cope." He smiled, small but real. The knife kissed her palm, a sharp sting, then warmth. Blood welled, bright and red. He turned her hand so it spilled onto the chalk, the drops spreading along the lines, seeping into symbols. He cut his own palm without flinching, darker blood mixing with hers in the chalk grooves. The air thickened, humming against her skin. "Repeat after me," he said. "In the tongue you do not know you know." "A warning would be nice," she said. He began to speak. The words curled in her ears, strange and familiar, thick with smoke. Something inside her, deep and frightened, recognised them. They scraped along her bones, a song hummed in childhood nightmares. Her mouth shaped the sounds before she thought them through, her voice braiding with his. Heat rolled out from the chalk circle, a wave that pressed against her. The light in the room dimmed, edges blurring. For a second she saw something overlay the flat, a shadow-city with jagged towers where the bookshelves stood, a sky of bruised violet pressed against the ceiling. Lucien's grip on her tightened. "Stay with me," he said, words a growl threaded with the old language. "I am not going anywhere," she said, though the floor swayed. A sound scraped at the window. Both their heads snapped toward it. Ptolemy's fur stood on end, a rippling wave from head to tail. He hissed, ears flattened, eyes locked on the glass. Something moved outside, a smear of darkness that had nothing to do with night. The windowpane bowed in, just a fraction, as if pressed by an invisible hand. Lucien's eyes widened. "He is early," he said. The glass spiderwebbed with a crack, a thin line racing across the pane. Air rushed inward, cold and sour, smelling of old coins and grave earth. Rory wrenched her hand from Lucien's, blood still wet on her skin. "What is that," she said. The crack split wide with a sound like a gunshot. Something started to push its way through the glass.
created_at"2026-02-19T03:46:07.038Z" 2/19/2026, 3:46:07 AM
model"openai/gpt-5.1-20251113"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency9466
moderation_latency(null)
generation_time91986
tokens_prompt4556
tokens_completion5723
native_tokens_prompt4075
native_tokens_completion5574
native_tokens_completion_images0
native_tokens_reasoning1709
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"
usage0.06083375
router(null)
provider_responses
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endpoint_id"764eb97f-8bab-4326-b29b-7a8799b00a70"
id"resp_0f9fc3cb31933666016996877f22748190bf325b1cfef0d3a7"
is_byokfalse
latency186
model_permaslug"openai/gpt-5.1-20251113"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771472767-qwHlP9vnFFmkI1MpDnP5"
upstream_id"resp_0f9fc3cb31933666016996877f22748190bf325b1cfef0d3a7"
total_cost0.06083375
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
totalTags111
adverbTagCount1
adverbTags
0"he said again [again]"
dialogueSentences194
tagDensity0.572
leniency1
rawRatio0.009
effectiveRatio0.009
96.56% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2906
totalAiIsmAdverbs2
found
0
adverb"precisely"
count1
1
adverb"softly"
count1
highlights
0"precisely"
1"softly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
63.87% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2906
totalAiIsms21
found
0
word"reverberated"
count1
1
word"lurched"
count1
2
word"warmth"
count2
3
word"lilt"
count1
4
word"flicker"
count1
5
word"pulse"
count3
6
word"oppressive"
count1
7
word"magnetic"
count1
8
word"stomach"
count1
9
word"silence"
count1
10
word"trembled"
count1
11
word"thundered"
count1
12
word"familiar"
count2
13
word"etched"
count1
14
word"flicked"
count1
15
word"racing"
count1
16
word"grave"
count1
highlights
0"reverberated"
1"lurched"
2"warmth"
3"lilt"
4"flicker"
5"pulse"
6"oppressive"
7"magnetic"
8"stomach"
9"silence"
10"trembled"
11"thundered"
12"familiar"
13"etched"
14"flicked"
15"racing"
16"grave"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
1
label"stomach dropped/sank"
count1
highlights
0"eyes widened"
1"stomach dropped"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences238
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount5
narrationSentences238
filterMatches(empty)
hedgeMatches
0"started to"
1"tried to"
2"seemed to"
3"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences321
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen38
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2901
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions122
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions55
wordCount1668
uniqueNames11
maxNameDensity1.44
worstName"Lucien"
maxWindowNameDensity3
worstWindowName"Lucien"
discoveredNames
Lucien24
French1
Ptolemy6
Rory15
Silence1
Bristol1
Kareem1
Heat3
Silas1
Relief1
Eva1
persons
0"Lucien"
1"Ptolemy"
2"Rory"
3"Silence"
4"Kareem"
5"Heat"
6"Silas"
7"Relief"
8"Eva"
places
0"Bristol"
globalScore0.781
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences100
glossingSentenceCount1
matches
0"as if cataloguing each change"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2901
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences321
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs212
mean13.68
std10.47
cv0.765
sampleLengths
010
130
29
39
41
548
611
78
825
96
1023
1118
123
1322
149
1527
164
176
1829
1910
2014
213
2211
239
245
258
2610
2717
2814
2922
3012
316
3230
3311
3414
3524
3624
379
3812
395
407
4146
425
437
446
4514
468
4737
487
4915
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences238
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs349
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences321
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1671
adjectiveStacks1
stackExamples
0"small, old-fashioned penknife,"
adverbCount55
adverbRatio0.03291442250149611
lyAdverbCount7
lyAdverbRatio0.004189108318372232
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences321
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences321
mean9.04
std6.37
cv0.705
sampleLengths
010
130
23
36
49
51
638
76
84
911
108
1112
1213
136
1417
156
1610
178
183
196
2016
216
223
2323
244
254
266
278
2815
296
305
315
325
339
343
356
365
375
384
395
403
415
423
437
4417
4510
464
4713
489
497
44.96% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats19
diversityRatio0.3052959501557632
totalSentences321
uniqueOpeners98
25.06% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences133
matches
0"Then his deal on the"
ratio0.008
21.50% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount66
totalSentences133
matches
0"Her fingers tightened on the"
1"He looked exactly as he"
2"He smelled faintly of expensive"
3"She started to close the"
4"Her heart lurched."
5"She glanced past him on"
6"He smiled without warmth."
7"She let the door open"
8"His gaze dropped to the"
9"he said, voice dropping, the"
10"She tasted bitterness at the"
11"His jaw twitched, the smallest"
12"She unhooked the chain with"
13"He looked around."
14"He gave her a flat"
15"He frowned, then actually toed"
16"He rested both hands on"
17"Her stomach dropped."
18"Her laugh came out thin."
19"He watched her face as"
ratio0.496
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount127
totalSentences133
matches
0"Rory yanked the door open"
1"Lucien leaned on the frame"
2"Her fingers tightened on the"
3"He looked exactly as he"
4"Amber eye, black eye, both"
5"He smelled faintly of expensive"
6"She started to close the"
7"The cane shot out, neat"
8"The force reverberated through her"
9"Her heart lurched."
10"She glanced past him on"
11"The narrow stairwell outside lay"
12"He smiled without warmth."
13"She let the door open"
14"That brought him closer, the"
15"His gaze dropped to the"
16"Lucien sighed, soft, almost theatrical,"
17"he said, voice dropping, the"
18"She tasted bitterness at the"
19"His jaw twitched, the smallest"
ratio0.955
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences133
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences63
technicalSentenceCount3
matches
0"Lucien leaned on the frame as if he owned it, one hand on the ivory handle of his cane, heterochromatic gaze sweeping over her with calm appraisal that hid noth…"
1"He stepped to the cluttered desk, swept aside a stack of Eva's notes with care that spoke of long habit in other people's spaces, and cleared a circle the size …"
2"Lines that curled back on themselves, small hooks that caught in her peripheral vision."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags111
uselessAdditionCount3
matches
0"he said, voice dropping, the French lilt more pronounced"
1"he said, quiet"
2"she said, though the floor swayed"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags111
fancyCount2
fancyTags
0"Rory muttered (mutter)"
1"she whispered (whisper)"
dialogueSentences194
tagDensity0.572
leniency1
rawRatio0.018
effectiveRatio0.018
83.7541%