Run: 2026-02-19-01KHT0A81W2H5JKDT9J51TDNA3

Run Details

Model:
GPT-5.2
Duration:
1m 17s
Cost:
$0.050501
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 shoved the last length of hanging cable aside and stepped over a puddle that stank of old piss and copper. “Tell me that’s not blood.” The uniformed constable in the tunnel flinched at her tone and gripped the tape like it could save him. “It’s, er, it’s what it looks like, ma’am.” Quinn ducked under the tape anyway. Her worn leather watch scraped the concrete as she steadied herself, and she felt the familiar pulse of anger in her wrist, the kind that arrived when a scene went wrong before she even laid eyes on it. “Where’s the body?” “In there.” The tunnel widened into a disused platform, but it did not look disused. Lanterns hung from pipes. Crates formed neat aisles. A line of stalls sat where commuters should have stood, draped in velvet and oilcloth, their wares lit with a low, sickly gleam. The air carried hot metal, crushed herbs, and a sweet rot beneath it, like bruised fruit left too long. A market had grown underground, and not one that had ever applied for a licence. Quinn took three steps in and felt eyes on her, not just from people. The shadows near the ceiling held their own weight, as if they listened. “Detective Inspector Quinn.” A man stepped out from behind a stack of empty bottles. Crime Scene Unit jacket, mask pulled under his chin, hair net already damp with sweat. “Davies,” Quinn said. “You look thrilled.” “You brought the Met into a fairy tale,” Davies said. He nodded at the stalls. “Good luck with the paperwork.” Quinn moved past him. Boots scuffed grit and something that glittered like ground glass. She kept her hands away from the walls. The concrete bore scratches that did not match any tool mark she knew. They curved in repeating arcs, too deliberate for vandalism. A second voice cut in, dry and practical. “Quinn. Over here.” DS Reeve stood by a column, tall and broad, his tie loosened like he had already decided this place did not deserve respect. He held a notebook open, pen poised, and watched her with that look he saved for her worst instincts. He jabbed his chin towards a stall with a collapsed awning. The canvas lay like a dead thing, torn into strips. “You’ll want to see this before you start rewriting reality.” Quinn approached, and the crowd, if it counted as a crowd, shifted back. Men and women in coats too heavy for a commute. A skinny boy with blackened fingertips and a crate of teeth. An older woman with a string of dried herbs that clicked like bones. They watched with the caution of people who did not trust police to understand what they saw. Quinn stopped at the edge of the stall. The smell sharpened. The body lay on its back, legs twisted under a broken table. Male, mid-thirties, dressed in a smart dark wool coat that had turned stiff at the seams. His hands looked wrong. Fingers splayed as if he had grabbed at something that refused to be held. His face held a frozen surprise, lips parted, eyes open and clouding. No blood pooled under him. Quinn crouched. Her sharp jaw tightened. She scanned the coat, the floor, the ripped canvas. “Where’s the wound?” Reeve pointed with the capped end of his pen. “Throat. Clean slice. No weapon at scene. No blood because the trader bled out somewhere else, got dumped here.” Davies snorted. “Dumped through a crowd, over crates, past the tooth boy. Without anyone noticing.” The tooth boy bared his gums in something that might have been a grin. Quinn ignored him. She leaned closer to the neck. The cut ran from just below the left ear to the centre, precise, shallow at the end. It looked like an expert had measured the depth, chosen not to sever the spine, and still achieved death. She lifted her gaze to the concrete beneath the head. A faint circle marked the floor, drawn in ash or soot. Within it, thin lines formed symbols that made her eyes itch. They sat at exact intervals, each one angled towards the centre like teeth. Quinn straightened. “That isn’t blood spatter,” she said. Reeve’s mouth twitched. “It’s graffiti.” “It’s a ring.” Davies stepped closer, interest waking. “Those lines aren’t random. They’re protective. Like warding marks.” Reeve rolled his eyes. “Here we go.” Quinn did not answer. She looked for footprints. The dust near the body held impressions, plenty of them, but they did not behave like prints should. Some showed tread, modern trainers, a heavy heel. Others looked like a smear that ended too clean, as if a foot lifted without shifting weight. One set ran through the ash ring, and the ash did not smudge. Quinn held her breath for a moment and listened. The market made noise, muttered bargaining, clinking glass, a faint hum from lanterns, but beneath it she caught a soft, rhythmic tick, too slow for any clock. Tick. Tock. It came from under the broken table. Quinn reached down and shifted a plank aside. A small brass compass lay half-hidden in grit, its casing filmed with verdigris. Protective sigils were etched around the face, tiny and neat, the work of a careful hand. The needle did not point north. It swung in tight circles, then jerked and settled towards the far end of the platform, towards a service corridor blocked by a metal shutter. Reeve watched her fingers hover above it. “Don’t touch that.” Quinn looked up. “Why.” Reeve nodded towards Davies. “Because Davies already told me this place sells cursed rubbish. We’re not adding ‘possessed DI’ to the list.” Davies raised both hands. “I didn’t say cursed. I said enchanted. There’s a difference.” Quinn picked up the compass anyway. The brass felt warmer than it should. The tick-tock sharpened, and she felt it in her teeth. Reeve swore under his breath. Quinn turned the compass in her palm. The sigils on the face mirrored, in miniature, the ash ring on the floor. “Bag it,” Reeve said. “It’s evidence,” Davies added, and for once he sounded almost pleased. Quinn held it steady and watched the needle quiver, as if it strained to reach what it wanted. A magnet could pull a needle. So could an electric field. Neither could explain the way it tugged at her wrist, like a dog on a lead. “What did the witnesses say?” Quinn asked. Reeve flipped a page in his notebook. “Depends who you believe. One says rival stall owners. Another says a buyer got angry. Another says the dead man sold fake goods and someone made a point.” “Names.” Reeve glanced towards a cluster of people hovering behind a stall hung with dark cloth. “They don’t give names. They give titles. The Crow. The Ink Man. The Sister with No Mouth.” Davies made a small choking sound, laughter caught in his throat. Quinn’s gaze stayed on the ash ring. “And you,” she said to Reeve. “What do you believe.” Reeve’s shoulders rose and fell, impatient. “I believe this is Camden. I believe criminals love costumes. I believe someone found a hidden place to deal and stabbed a man over money. That’s all.” Quinn kept her voice flat. “Then explain the blood.” Reeve pointed at the cut again. “Arterial spray went somewhere else. They cleaned him up. That coat could hide a lot.” Quinn reached out, pinched a fold of the dead man’s coat between gloved fingers, and lifted it. The wool cracked slightly where it had stiffened. A darker patch spread across the inside lining, but it looked old, soaked and dried more than once. “Not fresh,” Quinn said. Reeve stared at it, then shifted his stance. “Cleaning solution.” Quinn lowered the coat and traced the edge of the ash ring with her eyes. The soot lay undisturbed except for those impossible prints that did not smear it. She looked beyond the circle. Beyond the stall, past the lanterns, the concrete bore a narrow groove, a thin track that ran towards the shuttered service corridor. A drag mark. But it did not wobble. It ran straight, like something heavy slid without snagging on grit or cracks. Reeve followed her gaze. “You think they dragged him.” “No,” Quinn said. “I think something took him.” Davies swallowed and checked his phone as if he hoped for signal. “Quinn,” Reeve said, sharper now. “Listen to yourself.” Quinn ignored him and crouched again. She examined the dead man’s hands, the nails, the skin. No dirt under the nails. No tearing. No defensive cuts. She lifted one wrist and found a thin indentation around it, like a tight cord had bound him. It did not match handcuffs. It looked smoother, almost burned in. Quinn’s thumb pressed lightly against the mark. The skin gave no tack, no damp. The body had dried too quickly. “What’s the estimated time of death?” she asked. Davies cleared his throat. “Hard. Temperature down here stays steady. No insects. He’s… wrong. Skin’s too dry. Eyes clouded fast. I’d expect more pooling.” Reeve seized on the one thing that sounded normal. “Stable environment. That explains it.” Quinn stood and looked back at the people watching her. She picked one at random, a woman with braided hair and a scarf pinned with tiny silver charms. Her pupils were too wide. “You saw him die.” The woman’s chin lifted. “I saw him bargain. He offered a token he did not own.” “What token.” The woman’s eyes flicked to the compass in Quinn’s hand. “That kind.” Reeve stepped between them. “That’s not a proper answer.” Quinn moved around him, her gaze pinning the woman again. “Who sold him the compass.” The woman smiled without warmth. “A Shade artisan. Crafted for finding doors.” Reeve let out a humourless laugh. “Doors. Brilliant. Any CCTV in Narnia while we’re at it?” A low murmur rippled through the nearby stalls. Anger, amusement, something sharper. Quinn did not flinch. She held up the compass so the woman could see it clearly. “This points to doors,” Quinn said. “Where’s the nearest one.” The woman’s smile widened. “You already feel it.” Quinn’s grip tightened. The compass needle jerked, hard, and pointed again towards the shuttered corridor. Quinn walked in that direction. Reeve swore and followed, Davies trailing with his kit, mouth working as if he had forgotten how to breathe. They passed stalls that smelled of ink and burnt sugar, shelves of stoppered bottles that made the air shimmer, a cage covered in cloth that rattled when Quinn stepped too close. Voices fell away as they moved. The market did not like attention near its edges. The shutter ahead looked like standard service access, grey metal, industrial bolts. Someone had painted over it, but the paint had peeled in strips. Underneath, the same kind of symbols as the ash ring scratched into the metal, deep enough to catch a fingernail. Quinn stopped a pace from it. The compass needle pressed towards the shutter like it wanted to pierce it. Tick. Tock. The sound came from the metal itself now. Reeve pointed at the symbols. “Graffiti again?” Davies leaned in, then stopped short, skin blanching. “Those aren’t for decoration. They lock something. They’re a seal.” Reeve’s voice hardened. “We’re not opening some idiot’s occult art project. We secure the scene. We bring in specialists. Real ones.” Quinn looked at the bolts. Fresh scratches ringed them. Someone had worked at them with a tool, recent enough that the metal still shone. “It’s already been opened,” Quinn said. Reeve started to argue, then the shutter thudded once from the other side, a blunt удар that vibrated up the concrete. Lanterns swung. Somewhere behind them, glass chimed in a nervous cascade. Davies stepped back, and his boot caught a bottle. It rolled, clinking, and stopped against the wall. Quinn raised a hand, and Reeve fell silent despite himself. The thud came again, closer, as if whatever sat behind the shutter tested the thickness of the world. Quinn pressed her ear near the metal, careful not to touch the scratched symbols. The tick-tock faltered. A new sound slid in beneath it, wet and slow, like something breathing through a throat full of fluid. Reeve’s voice dropped. “Quinn. Move.” Quinn pulled back. The compass needle spun wild, then snapped to a fixed point dead centre on the shutter. The protective sigils on its face heated under her palm, a sting that travelled up her fingers. Behind them, someone in the market screamed, and the lanterns all guttered at once, their light shrinking to pinpricks. The shutter bolts began to turn, one by one, without any hand on them.
created_at"2026-02-19T03:50:18.962Z" 2/19/2026, 3:50:18 AM
model"openai/gpt-5.2-20251211"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency4395
moderation_latency(null)
generation_time76466
tokens_prompt4671
tokens_completion4273
native_tokens_prompt4157
native_tokens_completion3534
native_tokens_completion_images0
native_tokens_reasoning752
native_tokens_cached3968
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"
usage0.05050115
router(null)
provider_responses
0
endpoint_id"f00142c2-6a93-49ce-9e36-5593b904ce3b"
id"resp_069864aac8ca3d73016996887b0b2c8190a3eaf468934bc2ce"
is_byokfalse
latency155
model_permaslug"openai/gpt-5.2-20251211"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771473018-6k2gASlNqix9HBdHNjT8"
upstream_id"resp_069864aac8ca3d73016996887b0b2c8190a3eaf468934bc2ce"
total_cost0.05050115
cache_discount0.0062496
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
totalTags13
adverbTagCount0
adverbTags(empty)
dialogueSentences60
tagDensity0.217
leniency0.433
rawRatio0
effectiveRatio0
92.90% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2114
totalAiIsmAdverbs3
found
0
adverb"slightly"
count1
1
adverb"lightly"
count1
2
adverb"quickly"
count1
highlights
0"slightly"
1"lightly"
2"quickly"
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)
64.52% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2114
totalAiIsms15
found
0
word"familiar"
count1
1
word"pulse"
count1
2
word"velvet"
count1
3
word"weight"
count2
4
word"scanned"
count1
5
word"measured"
count1
6
word"rhythmic"
count1
7
word"etched"
count1
8
word"electric"
count1
9
word"traced"
count1
10
word"flicked"
count1
11
word"warmth"
count1
12
word"standard"
count1
13
word"vibrated"
count1
highlights
0"familiar"
1"pulse"
2"velvet"
3"weight"
4"scanned"
5"measured"
6"rhythmic"
7"etched"
8"electric"
9"traced"
10"flicked"
11"warmth"
12"standard"
13"vibrated"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences183
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences183
filterMatches
0"watch"
hedgeMatches
0"started to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences230
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
totalWords2110
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions19
unquotedAttributions0
matches(empty)
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions79
wordCount1719
uniqueNames5
maxNameDensity2.33
worstName"Quinn"
maxWindowNameDensity4.5
worstWindowName"Reeve"
discoveredNames
Scene1
Unit1
Davies12
Reeve25
Quinn40
persons
0"Scene"
1"Davies"
2"Reeve"
3"Quinn"
places(empty)
globalScore0.337
windowScore0.167
86.44% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences118
glossingSentenceCount3
matches
0"looked like an expert had measured the de"
1"looked like a smear that ended too clean"
2"looked like standard service access, grey"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2110
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences230
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs145
mean14.55
std14.57
cv1.001
sampleLengths
021
15
219
38
444
53
62
763
815
927
103
1126
126
1320
1444
158
163
1742
1821
1910
2064
2111
2258
235
2415
253
269
2719
282
2913
3017
3142
3210
3335
342
356
363
372
383
395
409
414
423
438
4456
4536
462
477
488
4960
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences183
matches
0"were etched"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs326
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences230
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1723
adjectiveStacks0
stackExamples(empty)
adverbCount62
adverbRatio0.035983749274521186
lyAdverbCount5
lyAdverbRatio0.002901915264074289
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences230
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences230
mean9.17
std6.37
cv0.695
sampleLengths
021
15
219
38
46
538
63
72
813
94
104
1123
1219
1315
1414
1513
163
1711
1815
193
203
2110
225
235
244
2510
268
2713
289
298
303
3123
3219
3311
3410
3510
3613
3710
3811
3913
4017
418
423
4312
4416
454
4614
4712
485
492
46.23% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats12
diversityRatio0.30869565217391304
totalSentences230
uniqueOpeners71
20.33% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences164
matches
0"Somewhere behind them, glass chimed"
ratio0.006
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount30
totalSentences164
matches
0"Her worn leather watch scraped"
1"He nodded at the stalls."
2"She kept her hands away"
3"They curved in repeating arcs,"
4"He held a notebook open,"
5"He jabbed his chin towards"
6"They watched with the caution"
7"His hands looked wrong."
8"His face held a frozen"
9"Her sharp jaw tightened."
10"She scanned the coat, the"
11"She leaned closer to the"
12"It looked like an expert"
13"She lifted her gaze to"
14"They sat at exact intervals,"
15"She looked for footprints."
16"It came from under the"
17"It swung in tight circles,"
18"she said to Reeve"
19"She looked beyond the circle."
ratio0.183
8.78% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount148
totalSentences164
matches
0"Quinn shoved the last length"
1"The uniformed constable in the"
2"Quinn ducked under the tape"
3"Her worn leather watch scraped"
4"The tunnel widened into a"
5"Lanterns hung from pipes."
6"A line of stalls sat"
7"The air carried hot metal,"
8"A market had grown underground,"
9"Quinn took three steps in"
10"The shadows near the ceiling"
11"A man stepped out from"
12"Crime Scene Unit jacket, mask"
13"He nodded at the stalls."
14"Quinn moved past him."
15"Boots scuffed grit and something"
16"She kept her hands away"
17"The concrete bore scratches that"
18"They curved in repeating arcs,"
19"A second voice cut in,"
ratio0.902
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences164
matches(empty)
ratio0
77.92% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences77
technicalSentenceCount7
matches
0"Her worn leather watch scraped the concrete as she steadied herself, and she felt the familiar pulse of anger in her wrist, the kind that arrived when a scene w…"
1"Boots scuffed grit and something that glittered like ground glass."
2"Male, mid-thirties, dressed in a smart dark wool coat that had turned stiff at the seams."
3"The tooth boy bared his gums in something that might have been a grin."
4"Within it, thin lines formed symbols that made her eyes itch."
5"The soot lay undisturbed except for those impossible prints that did not smear it."
6"The protective sigils on its face heated under her palm, a sting that travelled up her fingers."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags13
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags13
fancyCount1
fancyTags
0"Davies added (add)"
dialogueSentences60
tagDensity0.217
leniency0.433
rawRatio0.077
effectiveRatio0.033
83.7931%