Run: 2026-02-19-01KHT042WTRT430YQ2GXEAGCP6

Run Details

Duration:
1m 7s
Cost:
$0.010301
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Fantasy 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="4418" name="Nyx" aliases="Nyx, the Shadow, Nightwhisper" pronouns="they/them" species="Shade" storyRole="Wild Card"> <eyeColor>faintly glowing violet</eyeColor> <height>approximately 6'2" in solid form</height> <age>ageless</age> <form>humanoid silhouette of living shadow, can shift between solid and incorporeal</form> <voice>sounds like a whisper carried on the wind</voice> <description>A being of living shadow, existing between the mortal plane and the spaces between realms.</description> <backstory>Nyx was once a human sorcerer named Aldric who became trapped between realms during a failed summoning ritual in 1643. They now exist as a Shade, bound to the mortal plane but able to slip between shadows.</backstory> </character> <character id="4424" name="Isolde Varga" aliases="Isolde, the Seer" pronouns="she/her" species="Half-Fae" storyRole="Oracle"> <eyeColor>pale lavender</eyeColor> <hair>silver, reaching her waist</hair> <height>5'5"</height> <age>300 years old</age> <appearance>ethereal, ageless</appearance> <speech>speaks in riddles</speech> <footprints>leaves no footprints when she walks</footprints> <compulsion>cannot lie (Fae compulsion) but can mislead</compulsion> <description>A Half-Fae seer exiled from the Fae Courts for sharing visions with mortals.</description> <backstory>She now lives in a hidden grove in Richmond Park, offering cryptic prophecies to those who seek her out.</backstory> </character> <location id="853" name="Dymas (Gluttony)" aliases="Dymas, gluttony, Dymasian" realm="Hel" sin="Gluttony"> <ruler>Prince Belphegor</ruler> <skyColor>warm amber</skyColor> <description>A place of excess and indulgence. Sprawling vineyards, orchards, and gardens provide exotic ingredients for master chefs — often helbound souls contracted from Earth. Grand feasts and culinary competitions are common.</description> </location> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> <item id="2006" name="Fae-Forged Blade" aliases="the Fae blade, Isolde's gift" type="Weapon" origin="The Fae Courts"> <material>moonsilver</material> <shape>slender, leaf-shaped dagger</shape> <temperature>always cold to the touch</temperature> <glow>faintly luminescent in moonlight</glow> <power>can cut through magical wards; particularly effective against demons</power> <givenTo>given to Aurora by Isolde as a gift</givenTo> <description>A weapon of the Fae Courts, rare and highly coveted.</description> </item> <lore id="7001" name="The Veil" aliases="the Veil, the Barrier, the Boundary" category="Cosmology"> <solsticeEffect>weakens during the winter solstice, strengthens during the summer solstice</solsticeEffect> <appearance>faint shimmering distortion visible only to those with supernatural sight</appearance> <monitoring>rift points (tears in the Veil) are monitored by the Wardens</monitoring> <description>The Veil is the metaphysical barrier separating Earth from Hel and the Fae Realms.</description> </lore> </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 fantasy genre. A small group enters an ancient, otherworldly place for the first time. The environment is alien and wondrous. Describe their exploration — what they see, hear, and feel as they move deeper. Include moments of discovery, unease, and wonder. Let the world-building emerge through the characters' experience rather than exposition. Use the codex entries above as your world reference for characters, setting, and lore. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The pendant flared against my throat, a tiny hot fist, and the world hiccupped. Stone became soft. Air bent around the standing stones as if someone had unbuttoned reality and left it to sag. I felt the silver chain bite my skin, then slacken. The amber light that took my breath away smelled of overripe fruit and old coins. Behind me, Eva swore and caught her foot on a root that had not been there when we stepped in. "Hold on," I said. "Why's your necklace thrumming like a dead heart?" Eva asked. "Because it is the only useful thing hanging from my neck tonight," Nyx whispered, their voice a silk thread in my ear. They moved like ink poured into a cup, a silhouette of shadow with shoulders and a tilt of head, violet eyes gleaming like faint stars. "It remembers its soil." We were not supposed to be here. The Fae Grove called to a handful of people, or so Isolde had told me with her hands folded like closed petals. She had warned about time moving strange. She had not warned about the sky tasting like amber. She had given me the blade and the advice that always came wrapped in a riddle. Not the warning that the pendant would remember its origin. The trees stood like polite dancers around the clearing, giants in silver bark whose leaves shivered without wind. Vines braided themselves into archways. Grapes the size of a small apple dangled like polished beads. When I reached out, one breathed and shuddered, a soft, wet sound like a throat clearing. "Uncanny," Eva breathed. She had an easy grin that cracked whenever things got too strange, a human reaction to split the pressure. "Like Camden market after midnight if Camden sold immortality." "Tamper with it and you will need new teeth," Nyx said. The ground no longer accepted prints. Moss closed like a slow mouth beneath our feet and left no trace of the three of us. The standing stones at the grove's rim gleamed faintly, carved with knots that did not belong to any alphabet I recognised. They marked the boundary, and as we crossed them the air tightened. The pendant warmed further, a steady pulse that echoed in my jaw. A sound floated through the grove, a multi-threaded chorus of clinking porcelain, distant laughter, and something like knives sharpening against bone. The sound did not belong to any single source. It belonged to celebration and to hunger all at once. "Feast," Nyx said, tasting the syllable. We moved toward the sound. The path narrowed to a corridor of fruit trees, their branches heavy with glistening things. Light pooled at our feet, not from above but from within the foliage. Petals unfolded to reveal small candles that burned with an inner light, their flames a greenish blue, and when moths touched them the moths did not burn. They folded into vapour and climbed the trunks like living smoke. Eva stopped and picked up a fallen fruit, a small pear in patterned bronze skin. The pear hummed faintly. When she cupped her hands around it the hum became a murmur of names, of faces, of kitchen tiles and the hiss of oil. I heard, for a second, a voice that was not a voice, an inventory recited, all the ways the fruit could be eaten. "Do not taste that," Nyx said. "Isn't that the point of coming to somewhere called Gluttony?" Eva asked, grinning. "Points to gluttony come with agendas," Nyx replied. Their shadow leaned forward and pooled around the pear. "This garden deals in debts." A fountain opened up ahead, porcelain bright and impossibly white. Instead of water it flowed with wine that caught the amber light and held it like a thought. The wine's surface shimmered and rearranged into reflections that were not our faces. I looked down and saw a woman with a child's laugh trapped beneath the film. Her lips moved without sound. She did not notice me. She reached for the glass rim and could not reach. The pendant burned. The thought of Dymas did not need my mind to conjure it. Prince Belphegor's domain tasted of sweet things and promises. It looked like a banquet and it waited like a trap. The Heartstone had come from there, its deep crimson a memory of opulence and hunger. It pulsed in tune with the fountain, a barbaric little drum. "Isolde said the Fae do not lie," Eva said quietly. "They mislead," Nyx corrected, their hand trailing through the shadow at the fountain's edge and not making a single ripple. "Isolde told you true, however. The bartering here wears its bargains as medals." "Do we have anything she would value?" Eva asked. "Curiosity?" I suggested. Nyx smiled, the movement a ripple across darkness. "Curiosity pays in small, pleasant ways. But you carry debt already, Aurora Carter." I felt the blade at my hip, cold against my thigh. Isolde had pressed it into my hand when she thought I looked ready, the moonsilver singing under her fingers. It was slender and patient, leaf-shaped and deadly without being showy. I had practised sliding it out until the motion was muscle memory. The world here smelled of cooked bread and old regrets; the blade smelled of moon and the clean after sleep. It did not belong to me; it belonged to the Fae courts and to Isolde's generosity, wrapped in a chastising smile. "We look," I said. We had three rules for dealing with otherworldly pockets: do not touch the centrepiece, do not accept food unless offered by the host, and never, never linger where time did not agree with your watches. The pendant had no regard for our rules. It pulsed and hummed, a mosquito in the ear, and somewhere a pitcher lifted itself from a table and tilted as if in memory of being poured. Tables stretched into the clearing like ribs. Chairs were carved from bone-limestone so pale they hurt to look at. Platters heaved with meats that stewed in their own memories, crusts that breathed steam into the air like fog. Servers moved between guests, hands gloved in petals, faces hidden beneath veils of braided ivy. The people swallowing their fill were beautiful and wrong, their eyes occasionally flickering to black at the pupils, their laughter cutting like silver knives. "Trying to look like splendour," Nyx murmured, and their whisper threaded through the guests. A man at the head of a long table turned his head, his smile too wide. "Welcome," he said to no one, as if welcoming the whole grove. "Hungry ones are the best company." His voice landed on me like a coin. It bore the varnish of something old and practiced. I saw him now, at the far end of the table, ornate and fat as a crowned loaf, a wreath of fruit around his head. He looked up and the pendant flared so strongly that the heat licked into my teeth. "He sees you," Nyx said. The man rose and moved toward us with the slow grace of someone used to being served. He did not walk; he flowed. With each step the vines tightened as if to applaud. The servants parted like curtains. One of them, a woman with a mouth that smelled of sugar, held out a plate piled with small pastries, each one glinting with a sheen that looked like human skin beneath glaze. "Do not take anything," I said. Eva put a hand on my arm. "We are underdressed," she joked, because you make jokes when you are nervous, and the words were thin. Her eyes were bright. She was trying to measure danger like you measure stairs in the dark. The man stopped close enough that I could see the tiny insects crawling beneath his skin, like little silver stitches. He breathed in a way that suggested a throat that belonged to someone who had swallowed a bell. "Guests," he said, and his breath fogged the taste of the air. "Where do you hail from? Earth does not send so small a party without story." Nyx laughed, and the sound did not leave their mouth so much as spill from the space beside them. "From a place where kitchens close at ten," they said. "And where debts are ledgered in song." "A ledger," the man repeated, tasting the word. "Ledger is delicious." I slid my hand to the blade at my hip. The moonsilver thrummed like a caged thing. I had not unsheathed it since Isolde's grove, and even the motion made Eva's fingers twitch. Nyx made no motion to help; their shadow merely pooled and thickened, a well beneath the man's feet. "You should not have come," Nyx said softly. "But you came wanting." "We came to look," I said. My voice felt wrong in my chest. People in ballrooms spoke with velvet. I had my voice to rely on, cool and useful. "We will not eat." "Look only, yes," the man agreed. He tilted his head. "Look with longing. Longing is a spice I favour. Stay and I will show you a dish that remembers why you are lonely." Nyx's eyes narrowed. "We will not barter ourselves for novelty." The man smiled until his cheeks cracked. "Ah, but you already walk wearing a contract," he said, and he reached for the pendant. Heat detonated against my collarbone. The strap of the Heartstone gave, the chain straining, and for a hateful second the stone pulsed so hard it sang. I felt memory spill into me, not mine but the thing's memory: a market in a city I did not know, the clink of coins, a hand offering a small red gem across a table slick with oil. A man's laugh. Fire. A bell. "Do not touch it," I warned. The man's fingers brushed the pendant. The world split its first seam. It began as a ripple, a shallow one at the fountain's rim, and in seconds it became a tear. The amber sky folded like fabric and a throat of darkness opened above the table. The guests' laughter snapped into silence as if someone had cut the line that threaded them to their songs. Something moved inside that darkness. Not a face yet, not a form that your mind could pin down, but a pressure like the hush before a beast exhales. The servants dropped their trays; pastries rolled and burst into soft cries like infants. The vines twisted toward the rift as if they wanted to pluck the thing out and set it on the nearest plate. Nyx stepped forward, shadows crawling like a cloak. "That's a rift," they said. "An open mouth. Hel loves a mouth." The man with the fruit wreath let out a sound that might have been a laugh or might have been the tearing of cloth. He stumbled backward, the wreath falling away and revealing skin that glistened with honey. "You brought the stone," he said in a voice that tasted of old sugar. "You brought my appetite." The pendant burned, then in the same breath the blade at my hip snapped free under my hand. Moonsilver met aerial cold and I felt a hush like a held breath. I did not think. My body moved in rules it had learnt in smaller battles—draw the blade, point the edge at the thing, cut the shadow where it joined light. "Hold it," I ordered. Eva backed up, her heels finding a gap in the bone chairs. "Aurora, what are you doing?" "Not breaking any bargains," I said. "Cutting a seam." Nyx stepped of their own accord, and their shadow braided with the blade's edge like a ribbon around a knife. "Cut the memory tether," they whispered. "Cut what makes it hunger." The blade slid through the air and met a thin filament, something like a silver thread that stretched from the rift to the pendant. Sparks of flavour—wine and roast meat and a child's laugh—flew like moths from it, and the rift answered with a low keening, the sound of a great thing lamenting. Hands like roots burst from the table and gripped the edge. A shape unfolded from the dark, oil-slick and beautiful, with too many mouths tucked along its torso like bad jewellery. The guests screamed, a high, fragile sound that shattered into a dozen small pieces of grief. "Now!" Nyx breathed. I sank the blade deeper. It was cold enough to bite, but it cut, and where it passed the thread unspooled into smoke that smelled like kitchens long abandoned. The man with the wreath clawed at the air as if to stop the unravelling. He screamed the name of a dish and something in him died. The pendant went silent for an instant, then screamed so loud the sound struck my molars. The creature from the rift drew itself forward, tasting, and a great maw opened in its chest that wanted and wanted. Eva grabbed my arm. "Aurora, pull!" I could not pull. The world had contracted to sharpen into teeth and edge and the pendant's light. Nyx's shadow flared, and for a breath I saw Aldric's face in it—old in a way that tasted of centuries—before the Shade folded itself back into incomprehensible night. The creature lunged. We did not leave invitations on someone's table. We had not come here to fight. We had come to look. The blade sang in my hand, the Heartstone hanged like a pulsar at my throat, and behind us the bones of the grove groaned as if waking from a long, unpleasant nap. The first hand found the blade. The first mouth found Eva's shoulder. The rift widened like the opening of a great, indulgent eye.
created_at"2026-02-19T03:46:57.074Z" 2/19/2026, 3:46:57 AM
model"openai/gpt-5-mini-2025-08-07"
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provider_responses
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endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_0f743a198a97ccdb01699687b127b881938110f5dd51af1901"
is_byokfalse
latency136
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771472817-5QcVp1WA8T6j4JBLH6hf"
upstream_id"resp_0f743a198a97ccdb01699687b127b881938110f5dd51af1901"
total_cost0.0103015
cache_discount0.000864
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
totalTags33
adverbTagCount2
adverbTags
0"Eva said quietly [quietly]"
1"Nyx said softly [softly]"
dialogueSentences52
tagDensity0.635
leniency1
rawRatio0.061
effectiveRatio0.061
97.83% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2300
totalAiIsmAdverbs1
found
0
adverb"softly"
count1
highlights
0"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)
58.70% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2300
totalAiIsms19
found
0
word"silk"
count1
1
word"gleaming"
count1
2
word"uncanny"
count1
3
word"pulse"
count1
4
word"echoed"
count1
5
word"porcelain"
count2
6
word"glistening"
count1
7
word"shimmered"
count1
8
word"pulsed"
count3
9
word"otherworldly"
count1
10
word"whisper"
count1
11
word"glinting"
count1
12
word"velvet"
count1
13
word"silence"
count1
14
word"shattered"
count1
15
word"maw"
count1
highlights
0"silk"
1"gleaming"
2"uncanny"
3"pulse"
4"echoed"
5"porcelain"
6"glistening"
7"shimmered"
8"pulsed"
9"otherworldly"
10"whisper"
11"glinting"
12"velvet"
13"silence"
14"shattered"
15"maw"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences170
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences170
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences189
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
totalWords2292
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions32
unquotedAttributions1
matches
0"Behind me, Eva swore and caught her foot on a root that had not been there when we stepped in."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions44
wordCount1994
uniqueNames11
maxNameDensity0.85
worstName"Nyx"
maxWindowNameDensity2
worstWindowName"Nyx"
discoveredNames
Eva12
Nyx17
Fae2
Grove1
Isolde4
Dymas1
Belphegor1
Heartstone3
Heat1
Aldric1
Shade1
persons
0"Eva"
1"Nyx"
2"Isolde"
3"Dymas"
4"Belphegor"
5"Heartstone"
6"Heat"
7"Aldric"
8"Shade"
places
0"Fae"
1"Grove"
globalScore1
windowScore1
7.72% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences123
glossingSentenceCount7
matches
0"something like knives sharpening against bon"
1"looked like a banquet and it waited like"
2"as if welcoming the whole grove"
3"looked like human skin beneath glaze"
4"something like a silver thread that stretche"
5"smelled like kitchens long abandoned"
6"as if waking from a long, unpleasant nap"
25.48% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords1.745
wordCount2292
matches
0"not from above but from within the foliage"
1"not mine but the thing's memory: a market in a city I did not know, the c"
2"Not a face yet, not a form that your mind could pin down, but a pressure like the hush before a beast exhales"
3"not a form that your mind could pin down, but a pressure like the hush before a beast exhales"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences189
matches
0"warning that the"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs69
mean33.22
std24.54
cv0.739
sampleLengths
014
165
24
310
451
572
650
731
811
969
1040
116
1271
1366
146
1513
1622
1776
183
1958
2010
2133
229
233
2421
2594
264
2770
2877
2930
3018
3158
325
3371
346
3542
3638
3727
3836
3911
4051
4112
4233
4333
4410
4523
4670
476
4812
4953
99.07% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences170
matches
0"being poured"
1"were carved"
2"being served"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs350
matches
0"was trying"
21.92% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount5
semicolonCount5
flaggedSentences8
totalSentences189
ratio0.042
matches
0"The world here smelled of cooked bread and old regrets; the blade smelled of moon and the clean after sleep."
1"It did not belong to me; it belonged to the Fae courts and to Isolde's generosity, wrapped in a chastising smile."
2"He did not walk; he flowed."
3"Nyx made no motion to help; their shadow merely pooled and thickened, a well beneath the man's feet."
4"The servants dropped their trays; pastries rolled and burst into soft cries like infants."
5"My body moved in rules it had learnt in smaller battles—draw the blade, point the edge at the thing, cut the shadow where it joined light."
6"Sparks of flavour—wine and roast meat and a child's laugh—flew like moths from it, and the rift answered with a low keening, the sound of a great thing lamenting."
7"Nyx's shadow flared, and for a breath I saw Aldric's face in it—old in a way that tasted of centuries—before the Shade folded itself back into incomprehensible night."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1473
adjectiveStacks0
stackExamples(empty)
adverbCount40
adverbRatio0.027155465037338764
lyAdverbCount11
lyAdverbRatio0.00746775288526816
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences189
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences189
mean12.13
std7.39
cv0.609
sampleLengths
014
13
217
310
415
520
64
710
822
925
104
117
1222
137
1410
1516
1610
1718
185
1911
2016
213
2219
239
2411
256
2618
2721
2812
2912
3021
319
3210
336
345
3515
3613
3727
3811
3915
404
4124
4223
436
4413
458
469
475
4810
4918
52.73% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats17
diversityRatio0.37037037037037035
totalSentences189
uniqueOpeners70
22.52% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences148
matches
0"Instead of water it flowed"
ratio0.007
71.35% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount55
totalSentences148
matches
0"I felt the silver chain"
1"They moved like ink poured"
2"We were not supposed to"
3"She had warned about time"
4"She had not warned about"
5"She had given me the"
6"She had an easy grin"
7"They marked the boundary, and"
8"It belonged to celebration and"
9"We moved toward the sound."
10"They folded into vapour and"
11"I heard, for a second,"
12"Their shadow leaned forward and"
13"I looked down and saw"
14"Her lips moved without sound."
15"She did not notice me."
16"She reached for the glass"
17"It looked like a banquet"
18"It pulsed in tune with"
19"I felt the blade at"
ratio0.372
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount139
totalSentences148
matches
0"The pendant flared against my"
1"Stone became soft."
2"I felt the silver chain"
3"The amber light that took"
4"Nyx whispered, their voice a"
5"They moved like ink poured"
6"We were not supposed to"
7"The Fae Grove called to"
8"She had warned about time"
9"She had not warned about"
10"She had given me the"
11"The trees stood like polite"
12"Vines braided themselves into archways."
13"Grapes the size of a"
14"She had an easy grin"
15"The ground no longer accepted"
16"Moss closed like a slow"
17"The standing stones at the"
18"They marked the boundary, and"
19"The pendant warmed further, a"
ratio0.939
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences148
matches(empty)
ratio0
79.37% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences90
technicalSentenceCount8
matches
0"Petals unfolded to reveal small candles that burned with an inner light, their flames a greenish blue, and when moths touched them the moths did not burn."
1"Platters heaved with meats that stewed in their own memories, crusts that breathed steam into the air like fog."
2"He stumbled backward, the wreath falling away and revealing skin that glistened with honey."
3"The blade slid through the air and met a thin filament, something like a silver thread that stretched from the rift to the pendant."
4"The guests screamed, a high, fragile sound that shattered into a dozen small pieces of grief."
5"It was cold enough to bite, but it cut, and where it passed the thread unspooled into smoke that smelled like kitchens long abandoned."
6"Nyx's shadow flared, and for a breath I saw Aldric's face in it—old in a way that tasted of centuries—before the Shade folded itself back into incomprehensible …"
7"The blade sang in my hand, the Heartstone hanged like a pulsar at my throat, and behind us the bones of the grove groaned as if waking from a long, unpleasant n…"
94.70% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags33
uselessAdditionCount2
matches
0"Nyx whispered, their voice a silk thread in my ear"
1"he said, as if welcoming the whole grove"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags33
fancyCount12
fancyTags
0"Nyx whispered (whisper)"
1"Eva breathed (breathe)"
2"Nyx corrected (correct)"
3"I suggested (suggest)"
4"Nyx murmured (murmur)"
5"she joked (joke)"
6"the man repeated (repeat)"
7"the man agreed (agree)"
8"I warned (warn)"
9"I ordered (order)"
10"they whispered (whisper)"
11"Nyx breathed (breathe)"
dialogueSentences52
tagDensity0.635
leniency1
rawRatio0.364
effectiveRatio0.364
74.3795%