Run: 2026-02-19-01KHT08PHECXQF0GZTR0MHXN99

Run Details

Model:
GPT-5.2
Duration:
1m 30s
Cost:
$0.058593
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
Quinn ducked under the sagging strip of police tape and caught the constable’s elbow before he could recoil into the wall. “Hold your ground.” “It moved, ma’am.” “It’s a tunnel. They move.” She released him and stepped past, boots crunching on grit that sounded too loud in the narrow throat of the station. A second strip of tape fluttered from a rusted sign that still promised trains that never came. Someone had scrawled over the map in marker, black lines like veins. Beyond it, the air thickened, not with damp, but with spice and hot metal and something older, like a church cupboard that had never been aired. Quinn checked the worn leather watch on her left wrist, a habit that calmed her hands when her head ran ahead of the room. The minute hand shook from the vibration of distant trains. That, at least, obeyed rules. “Where’s the body?” A young officer, helmet clipped to his belt as if that would help down here, pointed with a shaking finger. “In there. Market’s still open, ma’am. Sort of. They, er, they don’t like us.” “They’ll manage.” Quinn walked into the mouth of The Veil Market. Stalls had been hammered together from scavenged doors and pallet wood. Tattered curtains cut the space into crooked lanes. Glass jars glimmered with things that refused names. A woman with a scarf over her hair watched Quinn without blinking, her pupils too wide. A man fanned incense over a tray of dull coins, each stamped with a face that didn’t match any monarch. The market sat inside an abandoned Tube station beneath Camden, but it pretended it belonged to somewhere else. Sounds came wrong, too, as if the place swallowed noise and returned only what it chose. Traders whispered. Chains clinked. A kettle hissed behind a curtain. No one raised their voice at the police tape. No one smiled, either. DS Rafiq Patel waited at the centre, beside a ring of evidence markers and a pair of white-suited forensics. He looked out of place in his suit jacket, as if it had been dragged through a hedge. “Quinn. You picked a charming day to join us.” “Brief me.” Patel jerked his chin towards the ground. “Male. Late thirties to early forties. No ID. No witnesses willing to go on record. First response got called because someone screamed and then clammed up. Standard Camden.” Quinn stepped closer and saw the man laid out between two stalls, his limbs arranged with care, palms up, like an offering. His clothes belonged to no office or building site. Long coat. Heavy boots. A belt with pouches stitched from something that looked like hide but held the sheen of old paper. His skin had a waxy tone. Not pale. Not bloodless. Just wrong, as if the colour sat on top instead of beneath. A chalk circle enclosed him. Not police chalk. Someone had drawn it with ground bone, the line thick and unbroken. Inside the ring, small objects marked points like a clock. Coins, teeth, seeds. A child’s marble, cloudy with age. Forensics had photographed the arrangement but left it in place, which told Quinn Patel had told them to. Patel’s face showed he disliked that decision. “What’s his cause of death?” Patel flicked a glance at the nearest forensic officer. “Dr Lyle says no visible wounds. No stabbing, no gunshot, no blunt trauma. No ligature. No signs of a struggle.” Quinn crouched, careful not to cross the bone line. The smell hit her then, copper and cloves. Blood and cover-up. “No visible wounds.” She leaned closer. The man’s lips had cracked, not from thirst, but from pressure. His tongue pressed against his teeth as if he had bitten down on a secret. Quinn looked at his fingernails. Dark crescents, not dirt. Ink. “What about blood loss?” Dr Lyle, masked and tired, lifted a swab as if it might answer for her. “Not much on the scene. That’s the odd part. There’s some under him, but not enough to match the pallor.” Patel pointed at the ground. “Staged. They love their theatrics down here. He probably died somewhere else and they carried him in.” Quinn traced the edge of the circle with her eyes. The bone powder sat clean on the filthy concrete. No smearing. No scuff marks crossing the line. “Carried him in without disturbing this.” Patel’s mouth tightened. “They drew it after.” Quinn stood and let her gaze travel. The nearest stall displayed small brass compasses, their faces etched with tiny sigils. Another sold bottles of thick oil that caught the low light and bent it. A third had a board of paper slips pinned up like notices in a village hall, each one written in a hand that worked hard to look careless. A woman stood beyond the tape, round glasses catching reflections, a worn leather satchel hugged to her chest as if it might shield her heart. Curly red hair escaped a clip and she kept tucking it behind her left ear, over and over, until her fingers went pink. Eva Kowalski did not belong in a murder scene. Yet she held her ground like someone used to restricted rooms and older dangers. Patel followed Quinn’s stare and swore under his breath. “You know her?” “I’ve read her name.” Quinn kept her voice level. “British Museum. Restricted archives.” Eva’s gaze snapped to Quinn’s face, then to the watch, then away. She looked at Patel with a kind of forced calm. “I’m not here by choice. One of your officers dragged me out of the back of a stall and told me a man had died inside a binding circle.” Patel spread his hands. “Civilians don’t enter crime scenes.” Eva’s mouth curled. “Neither do half the people in this market. Yet here we are.” Quinn stepped towards Eva, stopping at the tape. “Why were you here?” Eva’s fingers tightened on her satchel strap. “Research.” “On what?” “On markets that move.” Patel made a sound that tried to be a laugh and failed. “Right. And I’m here to buy a cursed necklace.” Quinn ignored him. “You recognised the circle.” Eva looked past Quinn, towards the body, and swallowed. Her freckles stood out stark against her skin. “It’s not a summoning circle.” Patel folded his arms. “Of course it isn’t.” “It’s a seal.” Eva’s voice gained strength, the cadence of someone who had defended footnotes in hostile seminars. “The bone line, the points marked with teeth and seed, the coins. It’s meant to keep something in.” Quinn’s jaw tightened. “Keep what in?” Eva’s eyes flicked to the stalls, to the watching traders, to the dim gaps between curtains. “That depends on what was placed at the centre.” Patel scoffed. “A body.” Eva shook her head. “A lock.” She glanced at Quinn. “Someone used him.” Quinn returned to the corpse and crouched again. The man’s belt pouches tugged her attention. Not police kit. Not tourist junk. Tools. “Open those,” Quinn said to Dr Lyle. Patel’s voice sharpened. “We don’t rummage without-” “Open them.” Dr Lyle pulled on fresh gloves and knelt, careful at the bone line. He opened the first pouch and tipped it onto a sterile tray. A handful of brittle paper scraps fell out, each one covered in cramped writing, black ink, the letters slanted like they had been chased by a shaking hand. Beside them lay a small brass compass, verdigris patina clinging to its casing like mould to bread. Protective sigils etched its face. The needle didn’t settle. It dragged itself in tiny jerks, as if it had a pulse. Quinn’s throat tightened. She had seen photographs of things like that in a file stamped CLOSED, a file that belonged to DS Morris and to the three-year hole his death had torn through her unit. Patel leaned in despite himself. “A compass?” Eva’s breath caught. “That’s a Veil Compass.” Quinn did not look away from the needle. “You’ve seen one.” “I’ve catalogued references.” Eva’s voice dropped. “They don’t come topside. They point to rifts.” Patel straightened. “Rifts. Right. And what, he fell through one and died from magic?” Quinn held up a hand. Patel stopped, though his shoulders stayed rigid. Military discipline recognised itself even in people who didn’t wear it. Quinn pointed at the compass. “Bag it.” Dr Lyle hesitated. “It’s evidence, Detective.” “Bag it anyway.” The moment the compass lifted from the tray, the needle swung hard, not north, not towards the tunnels, but towards a section of tiled wall behind the body, where old station adverts peeled in long strips. The compass strained as if it wanted to escape the glove. Dr Lyle’s eyes widened behind his mask. “It’s pulling.” Quinn stepped towards the tiled wall. The market noise thinned around her. Traders watched like they had seen this scene before and disliked its ending. The tiles looked ordinary at first, cracked cream squares grouted with soot. Then Quinn saw the detail her eyes usually skimmed. A thin line ran between two tiles, too straight to be a crack, too dark to be dirt. It cut the grout in a clean slice. She knelt and ran a gloved finger along it. The line felt cold. Not damp. Cold, like metal pulled from a freezer. Patel hovered. “You’ve got a cold wall. Congratulations.” Quinn ignored him. She studied the floor beneath it. Dust lay thick everywhere else, ground into the concrete by hundreds of boots. Here, the dust formed a fan shape, swept outward in a neat arc, as if something had pushed air through the space and polished the ground with it. “Dragged body,” Patel muttered, but his voice lacked conviction now. “No drag marks.” Quinn pointed. “No heel scuffs. No weight trails.” Dr Lyle spoke from behind her. “His shoes are clean. Too clean for this place.” Eva shifted closer, stopping at the tape like it could burn her. “The seal matters,” she said. “It’s not decoration. If the circle stayed intact, no one carried him in over it. They placed him inside before they closed it.” Patel rubbed a hand over his face. “So what, then? They built a circle around him and he died politely in the middle?” Quinn stood and scanned the body again. The cracked lips. The ink under the nails. The lack of blood. “Check his mouth.” Dr Lyle paused, then leaned in. He used a small torch and a tongue depressor. “There’s something lodged under the tongue.” Patel stepped forward. “Let me see.” Dr Lyle used forceps and drew out a small object, slick with saliva. A token. Bone, carved into a disc with a hole punched through it. The edges looked worn by fingers, passed hand to hand. One side carried a symbol like a door. The other carried a number scratched deep. Quinn’s eyes narrowed. “Entry requirement,” Eva whispered. “A bone token. That’s how you get in.” Patel stared at it, then at the market. “You’re telling me this place has membership cards made of bones.” Eva’s voice held a thin edge. “I’m telling you someone fed him his way in.” Quinn watched the traders. They did not react like people hearing police chatter. They reacted like people hearing a lock pick. A man behind a curtain shifted. The chain on his stall clinked. A woman took a step back, then another, her hands sliding beneath her shawl. Quinn turned to Patel. “Your first response officer said someone screamed.” Patel nodded. “Yeah. Then silence.” Quinn pointed at the chalk circle. “Who screamed?” Patel frowned. “No one will say. They all speak in riddles, or they speak in prices.” Eva swallowed. “They screamed because the seal broke.” Quinn looked at the bone line again. It sat neat, unbroken. “It didn’t.” Eva’s hands trembled as she tucked her hair behind her left ear again. “It did, then someone repaired it.” Patel’s patience snapped. “That’s convenient.” Quinn shifted her weight, listening. The market’s low hum carried on, but a new sound threaded through it, a faint tick-tock that did not match any clock. It came from the wall. Dr Lyle held the bagged compass up. “The needle’s spinning.” Quinn stepped close to the tiles again and pressed her palm flat to the cold line. The chill bit through her glove and climbed her arm. The line pulsed under her hand. Patel grabbed her shoulder. “Don’t touch that.” Quinn shrugged him off. The tiles did not sit flush anymore. They seemed to breathe, the edges lifting by a hair, settling, lifting again. The gap darkened, not with shadow, but with depth, as if the wall had learned to open. Quinn looked back at the body inside the seal. “A lock,” she said. “He didn’t die here. They made him die here. They used him to shut something.” Eva’s voice came thin. “And something’s pushing back.” A trader shouted in a language Quinn did not recognise. Stalls rattled as people yanked curtains aside and began to move, fast and purposeful, away from the body, away from the wall. A child cried out and got dragged by the wrist. A jar smashed somewhere, glass snapping like teeth. Patel raised his voice. “Police! Everyone stays where they are.” No one listened. The market flowed like a school of fish avoiding a hook. The tick-tock grew louder, then stopped. For a heartbeat, the whole market held still. The bone line around the body shivered. The powder lifted from the ground in a thin, spiralling thread, as if an unseen mouth inhaled it. Coins inside the circle rattled and flipped, clinking against teeth and seeds. The chalk points slid a fraction, ruining the careful geometry. Eva’s face drained of colour. “It’s unravelling.” Patel drew his baton, then hesitated, as if he had realised how useless wood and rubber felt down here. Quinn reached for the evidence bag holding the compass. The brass casing jerked against the plastic like it wanted out. The needle pointed straight at the seam between the tiles and held there, rigid. The wall opened with a sound like fabric tearing. Darkness spilled through, not empty, not flat, but thick, layered, alive. It carried a smell that punched Quinn’s sinuses, damp earth and old smoke and something like burnt hair. The tiles bent outward as if pressed from the other side by a hand the size of a manhole cover. From the centre of the seam, a shape pushed through, slow at first, then with a sudden force that made the nearest stall collapse in a crash of splintering wood. Patel swore and stepped back. “What the hell is that?” Quinn raised her torch and the beam caught on something that did not reflect light so much as drink it. A limb, jointed wrong. A slick surface that looked like skin until it flexed and showed a pattern, sigils etched in living flesh. The body inside the circle jerked once, hard enough to snap its head to the side. Its mouth opened and a sound crawled out, not a scream, but a wet gasp that carried words no one spoke aloud. The bone token clattered from Dr Lyle’s forceps and rolled across the floor, straight towards the opening in the wall. Quinn lunged for it, and the darkness lunged back.
created_at"2026-02-19T03:49:28.256Z" 2/19/2026, 3:49:28 AM
model"openai/gpt-5.2-20251211"
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native_tokens_reasoning783
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num_input_audio_prompt(null)
num_media_completion0
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origin"https://ncbench.com/"
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finish_reason"stop"
native_finish_reason"completed"
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endpoint_id"f00142c2-6a93-49ce-9e36-5593b904ce3b"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags12
adverbTagCount0
adverbTags(empty)
dialogueSentences82
tagDensity0.146
leniency0.293
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2545
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
64.64% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2545
totalAiIsms18
found
0
word"fluttered"
count1
1
word"standard"
count1
2
word"marble"
count1
3
word"flicked"
count2
4
word"traced"
count1
5
word"etched"
count3
6
word"stark"
count1
7
word"pulse"
count1
8
word"weight"
count2
9
word"scanned"
count1
10
word"silence"
count1
11
word"trembled"
count1
12
word"chill"
count1
13
word"pulsed"
count1
highlights
0"fluttered"
1"standard"
2"marble"
3"flicked"
4"traced"
5"etched"
6"stark"
7"pulse"
8"weight"
9"scanned"
10"silence"
11"trembled"
12"chill"
13"pulsed"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"eyes widened/narrowed"
count2
highlights
0"eyes widened"
1"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences215
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount3
narrationSentences215
filterMatches
0"watch"
hedgeMatches
0"tried to"
1"seemed to"
2"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences285
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2540
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions118
wordCount2020
uniqueNames12
maxNameDensity2.13
worstName"Quinn"
maxWindowNameDensity5
worstWindowName"Quinn"
discoveredNames
Veil1
Market1
Quinn43
Tube1
Camden1
Rafiq1
Patel30
Lyle10
Kowalski1
Eva18
Dr10
Morris1
persons
0"Market"
1"Quinn"
2"Rafiq"
3"Patel"
4"Lyle"
5"Kowalski"
6"Eva"
7"Dr"
8"Morris"
places(empty)
globalScore0.436
windowScore0
96.81% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences141
glossingSentenceCount3
matches
0"looked like hide but held the sheen of ol"
1"something like burnt hair"
2"looked like skin until it flexed and show"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches8
per1kWords3.15
wordCount2540
matches
0"not with damp, but with spice"
1"not from thirst, but from pressure"
2"not north, not towards the tunnels, but towards a section of tiled wall behind the body"
3"not towards the tunnels, but towards a section of tiled wall behind the body"
4"not with shadow, but with depth, as if the wall had learned to open"
5"not empty, not flat, but thick, layered, alive"
6"not flat, but thick, layered, alive"
7"not a scream, but a wet gasp"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences285
matches
0"disliked that decision"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs176
mean14.43
std15.06
cv1.043
sampleLengths
021
13
23
326
455
539
63
720
814
92
109
1163
1257
1337
149
152
167
1728
1853
1922
2039
2125
225
239
2420
2520
2632
2710
284
2915
3020
315
3217
3327
346
353
364
3762
3848
3923
409
413
4213
4322
4429
454
465
473
4812
498
97.10% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences215
matches
0"been aired"
1"been hammered"
2"been dragged"
3"been chased"
4"got dragged"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs369
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences285
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2025
adjectiveStacks0
stackExamples(empty)
adverbCount58
adverbRatio0.028641975308641977
lyAdverbCount3
lyAdverbRatio0.0014814814814814814
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences285
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences285
mean8.91
std6.7
cv0.751
sampleLengths
021
13
23
326
417
512
626
724
810
95
103
1120
1214
132
149
1511
168
178
1816
1920
2018
2116
222
232
246
259
264
2719
2818
299
302
317
3228
3322
349
352
362
3718
386
392
402
4112
425
433
4412
4510
463
476
4818
497
42.63% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats21
diversityRatio0.2982456140350877
totalSentences285
uniqueOpeners85
34.36% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences194
matches
0"Just wrong, as if the"
1"Then Quinn saw the detail"
ratio0.01
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount23
totalSentences194
matches
0"She released him and stepped"
1"He looked out of place"
2"His clothes belonged to no"
3"His skin had a waxy"
4"She leaned closer"
5"His tongue pressed against his"
6"She looked at Patel with"
7"Her freckles stood out stark"
8"She glanced at Quinn"
9"He opened the first pouch"
10"It dragged itself in tiny"
11"She had seen photographs of"
12"It cut the grout in"
13"She knelt and ran a"
14"She studied the floor beneath"
15"He used a small torch"
16"They did not react like"
17"They reacted like people hearing"
18"It sat neat, unbroken."
19"It came from the wall."
ratio0.119
19.28% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount171
totalSentences194
matches
0"Quinn ducked under the sagging"
1"She released him and stepped"
2"A second strip of tape"
3"Someone had scrawled over the"
4"Quinn checked the worn leather"
5"The minute hand shook from"
6"That, at least, obeyed rules."
7"A young officer, helmet clipped"
8"Quinn walked into the mouth"
9"Stalls had been hammered together"
10"Glass jars glimmered with things"
11"A woman with a scarf"
12"A man fanned incense over"
13"The market sat inside an"
14"Sounds came wrong, too, as"
15"A kettle hissed behind a"
16"DS Rafiq Patel waited at"
17"He looked out of place"
18"Patel jerked his chin towards"
19"Quinn stepped closer and saw"
ratio0.881
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences194
matches(empty)
ratio0
78.75% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences78
technicalSentenceCount7
matches
0"Beyond it, the air thickened, not with damp, but with spice and hot metal and something older, like a church cupboard that had never been aired."
1"Quinn checked the worn leather watch on her left wrist, a habit that calmed her hands when her head ran ahead of the room."
2"Forensics had photographed the arrangement but left it in place, which told Quinn Patel had told them to."
3"A woman stood beyond the tape, round glasses catching reflections, a worn leather satchel hugged to her chest as if it might shield her heart."
4"The market’s low hum carried on, but a new sound threaded through it, a faint tick-tock that did not match any clock."
5"It carried a smell that punched Quinn’s sinuses, damp earth and old smoke and something like burnt hair."
6"From the centre of the seam, a shape pushed through, slow at first, then with a sudden force that made the nearest stall collapse in a crash of splintering wood…"
83.33% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags12
uselessAdditionCount1
matches
0"Patel muttered, but his voice lacked conviction now"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount2
fancyTags
0"Patel muttered (mutter)"
1"Eva whispered (whisper)"
dialogueSentences82
tagDensity0.061
leniency0.122
rawRatio0.4
effectiveRatio0.049
78.7859%