Run: 2026-02-19-01KHT0CD98MK4CTESQ8PXJ8HFX

Run Details

Model:
GPT-5
Duration:
1m 32s
Cost:
$0.058618
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 ivy swallowed my hand. I pushed through anyway and the world tilted, bark slick under my palm and the air thick as syrup on my tongue. Isolde stepped in after me without a sound. She never left prints, not even in this place where the floor looked like damp loam and felt like skin. Nyx flowed past my shoulder with a hiss like silk dragged over stone. The pendant at my throat woke against my sternum, a slow pulse of heat that made the small scar on my wrist prickle. "Left," I said. "That knot's a trap." "Left is hunger," Isolde said. "Right is thirst. The middle road does not exist." Nyx's outline shivered, their violet gaze like foxfire. "Middle roads are for mortals. We are not here as mortals." "Speak for yourself," I said. I angled the Fae blade to catch whatever light chose to exist here. Moonsilver held a quiet glow that had nothing to do with torches. The narrow passage kinked, angled, then opened like a mouth. I had walked through Isolde's oak circle before, always into the same grove that smelled of crushed green and honey. This was not that. The walls here were old wood braided with pale stone, oaks that had grown together until they forgot they were separate. The grain rippled. Embossed curls formed patterns, then unfurled into faces if I looked too long. Someone had carved feast scenes along the inner bark, not Fae hands from their clean, sharp lines, not human either. Bowls heaped high, goblets that ran with glittering liquid. Teeth flashed in every smile. No eyes. "Charming," I said. Isolde trailed a finger along a wooden goblet's rim without touching it. "The way to wine is lined with cups." "Helpful," I said. She half smiled. "You did not come for help. You came for a door you cannot see." Nyx's shadow stretched, long and thin, licking along the carvings without disturbing them. "Doors respond to want. This one tastes want and feeds it." The air brightened, not with light, with a sense of colour pressed against my skin. Warm, spiced. The pendant pulsed faster. I cupped it under my shirt before it lit up like a bike light. The chain bit cold in contrast. My throat had gone dry. I swallowed and it felt like swallowing cinnamon. We moved deeper. The corridor breathed. Every exhale stirred the tiny hairs along my forearms. The wood had a rhythm to it, a low thudding like a distant oven door closing, again and again. To my right, something gleamed between two bending boughs. A bowl cut from black glass sat in a cradle of roots. Inside lay berries the size of a child's fist, each one a perfect crimson heart, beading with a syrup that steamed into the chill. "Do not eat," Isolde said softly. "I did notice the skull motifs," I said. There were none. That made it worse. Nyx leaned in close enough that the bowl reflected their shadow face, a suggestion of cheekbones and nothing else. "Desire is bait. The hook is appetite." "Hungers make bargains," Isolde said. "You would not like the repayment schedule." "I already owe London for my student loan," I said. "Pass." At the edge of my hearing, cutlery chattered. It started as a tick-tock, neat as a metronome, then picked up into an excited clatter. Nyx went still, head cocked. I saw then that their outline sharpened as light diminished, edges crisping in the folds of shade. The corridor opened again, ribs of oak curving up and over into an arch. At the crown of it hung a sigil etched into the wood so deep it bled sap. Spirals wrapped a circle. At first I thought it was an eye. It wasn't. It was an open mouth. "That a ward?" I said. "Not yours to open," Isolde said. "Good thing I brought a skeleton key." Her eyes, pale as lavender smoke, slid to the blade in my hand. "Keys sing to locks. This one prefers to cut." "If it sings, I am tone deaf." I pressed my palm to the sigil. Heat kicked under my skin through the chain at my neck. The Heartstone beat like a second heart. My teeth ached in response. The wood felt slick, like touching a tongue. I flinched. "Do not bleed on it," Isolde said. "Not a fan of giving away DNA samples," I said, and lifted the blade. The moonsilver hummed, a low keen that rattled the fillings I did not have. I traced the circle. The cold leached through my fingers into the wood. Sap hardened into frost before it ran. When I cut the smallest spiral, the sigil sighed. The ward gave like sinew. The arch shuddered and split. Beyond, the colour changed. Amber breathed against my face and brought with it scents that made my stomach cramp, sweet and savoury, roast skin crackling, sugar warmed until it smoked, fat, apples, something so ripe it bordered on rotten and dragged memory up from the back of my tongue. Christmas dinners and cheap wine and the first place I had ever felt safe enough to be hungry. Nyx did not breathe, not like I did, but they leaned, mouthless, towards that amber. "Dymas," they said in a voice that was less whisper, more prayer. I kept my feet planted and let my eyes adjust. The hall beyond the arch spread wide, wider than it had any right to be under London clay and oak. The floor had been paved in slabs of bone pale stone veined with faint red. Benches grew from the ground, roots turned to seats, their surfaces polished by hands that never left oil. Tables lined up in ranks, each set for a feast that had never started or had never ended. Plates of hammered metal sat empty, forks laid neatly at attention. Goblets beaded with condensation that formed, ran, then disappeared before it could fall. Above, the ceiling was a net of roots strung with small bells fashioned from spoons. They rang as we walked in. Not together. A ripple that ran from one end to the other, like wind through chimes if the wind ate. "This is wrong," I said. "Correct is a human word," Isolde said. "Useful, not universal." "Don't you lot find this creepy?" "Creeping things have homes too," she said. Nyx drifted ahead. A hand that was not a hand touched a plate and the silver clouded then cleared. Their eyes brightened. "Prince Belphegor loves his tables unending. He hates to see plates go bare." "Good to know if we need to set a place for him," I said. "How close are we to the Veil?" Isolde did not answer that. She tilted her head as though she listened to a music none of us could hear. I glanced down at my phone by reflex, even though the Grove always ate signal. The clock read 13:12, then blinked to 00:00, then scrolled through digits so fast it looked like static. I shoved it back in my pocket. At the far end of the hall, a staircase curved down, ribbed with carved vines. The handrail had been designed for hands that had too many joints. I did not dwell on that. Between one blink and the next, the air thickened. The pendant burned, not a surface heat, a core warmth like a hand pressed inside my chest. My mouth flooded. Saliva tasted of iron. "Stop," Isolde said. Nyx froze, which made everything else move more. The walls pulsed. The bells hushed. A low gurgle rose up the stairwell, obscene and intimate. I hated that it reminded me of a baby drinking from a bottle. "Someone home?" I said, too loud. "Not someone," Isolde said. "Something that invites itself when curious mouths open." I swallowed again and it hurt. Curiosity, hunger, same sin in different clothes. I moved forward anyway. The Fae blade felt colder. Its edges glowed where it met the air. Each step down took a thin slice off my resolve. At the second turn, the space shuddered. The banisters sprouted shoots that unfurled like fingers and tasted the air. "Do not cut them," Isolde said. "They feel us," I said. "They always do." We reached the bottom and the hall became a kitchen. I had worked the back of enough restaurants to know the bones of one without looking. Fire places where ovens should be. Hooks. Racks. The benches here were black stone, polished to a shine like old teeth. Troughs lined one wall. Not for washing dishes. For catching what ran off them. Damp clung to everything, a cloying humidity that had nothing to do with water. Shapes hung from the ceiling, wrapped in translucent membranes. Some held herbs. Some did not. Something with too many ribs ticked against its wrapper like a watch dying. Nyx reached towards a cutting block. Their fingers stopped short of a groove worn deep by blades. "There are knives here for cutting souls away from their appetites," they murmured. "Sharp as laws. Sharp as hunger." "Sounds like your sort of poetry night," I said, but my voice had gone tight. The pendant turned my skin sore. Its crimson heartlight thrummed in time with that sound from below, deeper, more eager. Isolde stood very still. "We should go back." "Door we cannot see," I said. "Which way?" Her eyes flicked to the far wall where the stone had been mortared with something too red to be right. "Ask the only one who answers when called." "Hel," I said. Nyx's shadow mouth curved. "Names bring attention. Attention eats." "You dragged me under a park to stand in a devil's pantry," I said. "No point whispering now." The far wall quivered. A fine fracture raced across the mortar and the smell that came out was not rot, not exactly. It was the heady breath that lifts off a banquet when lids rise, the first wave that hits and opens your throat wide without consent. The bells above us quivered and fell silent as if in respect. Something pushed from the other side. Not a hand. A pressure. The stone at the seam turned to sugar and sagged. Amber light bled through, warm and thick. In it, I saw a sky that should not exist, a warmth that spoke of late harvests and afternoons under trees and all the things adverts sell to make you forget rent. Rows of vines rolled off into a distance that did not follow physics. Trees hung heavy with fruit the colour of bruises and sunsets. The ground, red as a tongue, steamed sweet. Far away, people moved like ants towards a long table. "Do not look too long," Isolde said, voice low. "They look back." Nyx's gaze traced the horizon I could not possibly see from this angle. "Amber above. Prince Belphegor's gaze below. Gluttony sits in a warm chair and counts us as crumbs." "Cheerful," I said. I shook my hand out. Pins and needles ran up my fingers. "How do I close that?" "You asked how to open doors," Isolde said. "You did not ask how to shut them." "Lesson learned," I said. "Close it." She watched the widening seam, face calm as winter glass. "The knife wants this cut," she said. "It frees the mouth." "Isolde," I said. "Close it." "I cannot lie to you, Rory," she said. "I can say this truth. Once that mouth opens, it does not like to close on empty air." "Meaning?" "Meaning you must feed it something or it takes the nearest hand." The nearest was mine. I stepped back. The seam split with a wet sound. The amber poured through like liquid light, turning the damp on the floor to gold. The first thing that came out wore a chef's apron made of stitched skins. Its body did not look like a body, more a stack of need balanced on legs too thin to support it. Arms like knives, long, bright. It did not have a head so much as a mouth ringed with spoons. It tasted the air with a shiver that made the bells ping. I lifted the blade. The cold rolled up my arm to my shoulder. My breath fogged, even in the humid press. Nyx thickened beside me until their shadow felt like a wall. Their voice slid over my ear like cool fingers. "Do not let it name you," they whispered. "Names are seasoning here." "Got it," I said. "No introductions." Isolde did not step forward. Her hands hung at her sides, open, empty. "You asked a door for mercy," she said. "It will not give it." "Not asking," I said. "Telling." The thing moved fast. It had no right to move at all with those angles, but hunger made it efficient. It surged across the stone and hit the first bench, skidding it aside with a squeal. Spooned hands clapped. The sound scraped my molars. I cut at the arm nearest me. The blade sang high and clear. Moonsilver bit, slid, then caught at something beneath the bright. The creature flinched. A hiss rolled out of its mouth, a high keening that turned to words I did not understand and did not want to. My chest clenched. A part of me stepped forward that was not my feet. Nyx whipped a tendril of shadow round my waist and yanked me back. "Do not feed it your forward step," they said. "It is hungry for assent," Isolde said. "It is hungry for the little nods you give to make things easy." "I am not easy," I said, and lunged. The knife met a ward I could not see and carved it like thin ice. The creature stumbled. A splash of amber hit my boots and burned. The heat raced through the leather. I jerked my foot free. The sole smoked. "Rory," Isolde said, call sharp enough to cut. "Heart." "What?" She tipped her chin at my collar. The pendant had slipped free. It glowed deeper than ruby, a living coal. The creature turned all its not-eyes to it. The clatter of spoons shifted. Praise and petition. Worship. "That," Nyx breathed. "It wants that more than it wants you." "Brilliant," I said. "So do half the people I date." The seam bulged. More amber pressed through. A second shape loomed on the other side. Taller. Slow. Sated, not slow. Tables in the distance moved. The sound of knives on plates rose like rain hardening on tin. "Cut the light," Isolde said. "Or cut your throat. One denies it. The other satisfies it. Choose quick, child of lawyers." "Those are not equal options," I said. "They are both true," she said. "True is not fair." I looked at the blade in my hand. It did not care. It liked to solve puzzles by turning them into halves. The heat on my chest pushed pain through my ribs. The thing in the apron took another step, spoons ringing, hands opening to accept an offering. Behind it, something enormous breathed out and the amber bent around that exhale. The bells above us all rang at once. The sound fell like a curtain. "Rory," Nyx whispered, right at my ear now. "Choose your cut." I hooked the chain in my left hand and lifted the pendant off my skin. The stone burned so hard my hair crackled. The strings of amber that had started to run across the floor reached for it like vines. The creature leaned. It did not have eyes, but I felt watched, counted, wanted. "Fine," I said. "Dinner's cancelled." I slashed the chain.
created_at"2026-02-19T03:51:29.854Z" 2/19/2026, 3:51:29 AM
model"openai/gpt-5-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency6583
moderation_latency(null)
generation_time91487
tokens_prompt5338
tokens_completion4443
native_tokens_prompt4854
native_tokens_completion5255
native_tokens_completion_images0
native_tokens_reasoning1792
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.0586175
router(null)
provider_responses
0
endpoint_id"7c2f859a-7890-4e8e-b1de-1cd1c0a800b4"
id"resp_0b273e8f26b8ee0301699688c1f36c8195b0a95c77cda12929"
is_byokfalse
latency205
model_permaslug"openai/gpt-5-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771473089-WaTtyQjWhBSum9I4LAlz"
upstream_id"resp_0b273e8f26b8ee0301699688c1f36c8195b0a95c77cda12929"
total_cost0.0586175
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags50
adverbTagCount1
adverbTags
0"Isolde said softly [softly]"
dialogueSentences97
tagDensity0.515
leniency1
rawRatio0.02
effectiveRatio0.02
96.17% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2612
totalAiIsmAdverbs2
found
0
adverb"softly"
count1
1
adverb"very"
count1
highlights
0"softly"
1"very"
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)
55.97% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2612
totalAiIsms23
found
0
word"silk"
count1
1
word"pulse"
count1
2
word"sense of"
count1
3
word"pulsed"
count2
4
word"perfect"
count1
5
word"chill"
count1
6
word"desire"
count1
7
word"etched"
count1
8
word"traced"
count2
9
word"stomach"
count1
10
word"whisper"
count1
11
word"warmth"
count2
12
word"resolve"
count1
13
word"flicked"
count1
14
word"quivered"
count2
15
word"raced"
count2
16
word"efficient"
count1
17
word"loomed"
count1
highlights
0"silk"
1"pulse"
2"sense of"
3"pulsed"
4"perfect"
5"chill"
6"desire"
7"etched"
8"traced"
9"stomach"
10"whisper"
11"warmth"
12"resolve"
13"flicked"
14"quivered"
15"raced"
16"efficient"
17"loomed"
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
narrationSentences259
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences259
filterMatches(empty)
hedgeMatches
0"started to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences306
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen45
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2610
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions56
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions41
wordCount2110
uniqueNames6
maxNameDensity0.95
worstName"Isolde"
maxWindowNameDensity2
worstWindowName"Isolde"
discoveredNames
Isolde20
Nyx15
Fae3
Heartstone1
London1
Grove1
persons
0"Isolde"
1"Nyx"
2"Fae"
3"Grove"
places
0"London"
globalScore1
windowScore1
80.07% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences143
glossingSentenceCount4
matches
0"looked like damp loam and felt like skin"
1"felt like skin"
2"felt like swallowing cinnamon"
3"looked like static"
4"felt like a wall"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.383
wordCount2610
matches
0"not like I did, but they leaned, mouthless, towards"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences306
matches
0"hated that it"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs99
mean26.36
std26.09
cv0.99
sampleLengths
027
164
27
314
419
540
697
73
820
93
1017
1124
1254
1379
146
1515
1626
1712
1811
1996
205
216
227
2322
247
2540
267
2714
2853
2967
3027
31120
3226
335
3410
356
367
3735
3821
3961
4066
413
4237
436
4412
4559
466
475
483
4910
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences259
matches
0"been paved"
1"been designed"
2"been mortared"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs421
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences306
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2112
adjectiveStacks0
stackExamples(empty)
adverbCount64
adverbRatio0.030303030303030304
lyAdverbCount4
lyAdverbRatio0.001893939393939394
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences306
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences306
mean8.53
std5.77
cv0.676
sampleLengths
05
122
28
320
413
523
63
74
85
99
108
1111
125
1313
1412
1510
1620
174
1821
193
2013
2120
229
235
242
253
2612
278
283
293
3014
3113
3211
3315
342
354
3614
376
385
398
403
413
429
4319
449
4512
4624
476
488
493
55.45% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats22
diversityRatio0.3758169934640523
totalSentences306
uniqueOpeners115
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences207
matches(empty)
ratio0
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount62
totalSentences207
matches
0"I pushed through anyway and"
1"She never left prints, not"
2"I angled the Fae blade"
3"I had walked through Isolde's"
4"She half smiled."
5"I cupped it under my"
6"My throat had gone dry."
7"I swallowed and it felt"
8"We moved deeper."
9"It started as a tick-tock,"
10"I saw then that their"
11"It was an open mouth."
12"Her eyes, pale as lavender"
13"I pressed my palm to"
14"My teeth ached in response."
15"I said, and lifted the"
16"I traced the circle."
17"they said in a voice"
18"I kept my feet planted"
19"They rang as we walked"
ratio0.3
17.97% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount183
totalSentences207
matches
0"The ivy swallowed my hand."
1"I pushed through anyway and"
2"Isolde stepped in after me"
3"She never left prints, not"
4"Nyx flowed past my shoulder"
5"The pendant at my throat"
6"Nyx's outline shivered, their violet"
7"I angled the Fae blade"
8"Moonsilver held a quiet glow"
9"The narrow passage kinked, angled,"
10"I had walked through Isolde's"
11"This was not that."
12"The walls here were old"
13"The grain rippled."
14"Someone had carved feast scenes"
15"Bowls heaped high, goblets that"
16"Teeth flashed in every smile."
17"Isolde trailed a finger along"
18"She half smiled."
19"Nyx's shadow stretched, long and"
ratio0.884
24.15% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences207
matches
0"To my right, something gleamed"
ratio0.005
94.16% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences88
technicalSentenceCount6
matches
0"The pendant at my throat woke against my sternum, a slow pulse of heat that made the small scar on my wrist prickle."
1"The walls here were old wood braided with pale stone, oaks that had grown together until they forgot they were separate."
2"Inside lay berries the size of a child's fist, each one a perfect crimson heart, beading with a syrup that steamed into the chill."
3"Amber breathed against my face and brought with it scents that made my stomach cramp, sweet and savoury, roast skin crackling, sugar warmed until it smoked, fat…"
4"She tilted her head as though she listened to a music none of us could hear."
5"A part of me stepped forward that was not my feet."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags50
uselessAdditionCount2
matches
0"I said, but my voice had gone tight"
1"Isolde said, voice low"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags50
fancyCount4
fancyTags
0"they murmured (murmur)"
1"they whispered (whisper)"
2"Nyx breathed (breathe)"
3"Nyx whispered (whisper)"
dialogueSentences97
tagDensity0.515
leniency1
rawRatio0.08
effectiveRatio0.08
87.4647%