Run: 2026-02-19-01KHT0E65KT3QJ18S86Y70NVT7

Run Details

Model:
GPT-5.2
Duration:
1m 23s
Cost:
$0.052444
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Romance genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The last deadbolt snapped open under Aurora’s hand and the door jolted inwards, pushed by the weight on the other side. Lucien Moreau filled the gap like a bad decision made flesh, one amber eye, one black, his tailored charcoal suit torn at the sleeve, his ivory-handled cane angled wrong as if his wrist had forgotten how to hold it. A thin line of blood shone along his jaw where someone had kissed him with a blade. Ptolemy launched himself off the book-stacked chair with a sound that belonged in an alley fight. Lucien lifted his free hand, palm out, a gesture so smooth it looked practised in mirrors. “Bonjour, Rory.” Aurora kept her grip on the door. She didn’t step back. She didn’t invite him in. She let the chain hang loose, a petty pretence of control. “You don’t get to use that name.” His gaze dipped, not to her face but to her left wrist, to the small crescent scar that she never talked about, that he had traced once with the tip of his thumb as if reading braille. His mouth tightened, not apology, not regret, something between restraint and hunger. “I don’t have time for your pride.” “You never did.” She angled her body to block the view into Eva’s flat, as if Lucien had not already memorised every weakness in every room he entered. “What are you doing here?” His nostrils flared. Copper stung the air between them. He had brought the smell of violence into Eva’s cramped one-bedroom, into the nest of scrolls and post-it notes and coffee rings that kept Aurora upright on nights like this. “Let me in,” he said. “Lock the door.” “Say please.” His lips parted in something that could have become a laugh if his ribs had not seized. He shifted his cane and the movement pulled at his torn sleeve. Blood seeped through expensive fabric in slow, offended beads. “You’re bleeding on Brick Lane,” Aurora said. “Do you want an audience?” “Not tonight.” “Then give me a reason.” Lucien leaned closer, close enough that she caught the faint scent beneath the blood, smoke and something darkly sweet, like burnt sugar. His voice dropped. “Someone followed me.” Aurora’s fingers tightened on the edge of the door until the wood bit her skin. “You led them here,” she said. “I chose here because you’re here.” “That isn’t the same thing.” His gaze flicked past her shoulder, to the corridor beyond, as if he measured distance, exits, angles. He had always moved like a man who counted steps without looking down. Half-demon, fixer, information broker. A man who made favours feel like debts before you even accepted them. “Rory,” he said again, softer, and the sound of it dug under her ribs. “Open the door.” Ptolemy hissed, tail bottle-brushed, and launched himself at Lucien’s trouser leg. Lucien moved with lazy precision. His cane angled, not striking, just interposing, and the tabby bounced back with a yowl, claws skittering on the floorboards. Ptolemy retreated under the narrow console table where Eva kept a pile of warding stones and a half-empty tin of mints. Aurora’s throat tightened. She hated that Lucien had reacted without panic. She hated that he’d known exactly how not to hurt the cat. She unhooked the chain and stepped aside. Lucien slipped in without brushing her, which felt deliberate, and still her skin flared as if he had. He turned immediately, back to the hallway, and pushed the door shut. The three deadbolts waited like teeth. “Lock it,” he said. Aurora turned the bolts, one, two, three, metal thudding into place. The sound carried through the thin walls, through the flat’s cluttered quiet, through the paper-dry smell of old books and the sharper tang of ink. She kept her palm on the last bolt a moment too long. When she faced him, Lucien stood in the middle of Eva’s sitting area, surrounded by research notes and curled parchment, as if he’d stepped into a battlefield made of words. His suit made the chaos look worse. “You’re dripping,” she said. He glanced down as if the blood belonged to someone else. “It’s not mine.” Aurora’s pulse stuttered and then steadied, stubborn. “That’s meant to reassure me?” “It should.” “Because you’ve brought someone else’s blood into my best friend’s home.” Lucien’s mouth curved. Not a smile. A warning. “You’re not your best friend. You don’t get fragile.” Aurora moved past him into the narrow kitchenette, forced her hands to work. Cupboard. Clean tea towel. First-aid tin that Eva kept for paper cuts and ritual burns. Her mind clicked into the old rhythm, observe, calculate, improvise. It beat the alternative, which would have been staring at Lucien like he was a door she’d locked for a reason. “You look like you crawled out of a tailor’s nightmare,” she said, rummaging. “Who did you annoy?” Lucien followed, silent, his steps careful over scattered books. He didn’t ask where Eva was. He already knew Eva wasn’t home, or he wouldn’t have risked this. That made Aurora’s stomach twist. “Do you have clean water?” he asked. “In London? No. We drink gin and pray.” His low chuckle vibrated through her like a thumb pressed to a bruise. Aurora found herself hating the sound because it still worked on her. It still pulled, still reminded her of the nights that had gone soft at the edges, when his accent had turned her name into something private. She set a bowl in the sink and ran the tap. The water rattled against metal, a domestic noise that didn’t belong with him. She soaked the tea towel, wrung it out, and turned. Lucien had shrugged off his jacket. His white shirt clung to his chest and shoulder where a dark stain spread, thick and drying. Not his blood, he’d said. That meant he’d been close. Too close. Aurora held up the towel. “Sit.” His amber eye brightened at the command. His black eye stayed empty. “Careful,” he said. “You sound like you miss ordering me about.” “I miss nothing about you.” She stepped in, grabbed his sleeve before he could dodge, and rolled the fabric up. A shallow cut ran across his forearm, clean as a paper slice but deeper, the skin split with surgical spite. Beneath it, a smudge of someone else’s blood smeared his wrist like a crude bracelet. Lucien watched her hands. “You came here for bandages?” Aurora asked. He lifted his arm slightly as she pressed the wet cloth to the cut. His muscles tensed, then eased. “I came here for you.” She let out a short breath. “Flattery doesn’t suit you.” “It isn’t flattery.” She dabbed, wiped, pushed the cloth hard enough to hurt. If he felt it, he didn’t show it. The bastard never showed pain unless he chose to. “You vanished,” Aurora said. The words came out sharp. “One minute you were in my kitchen, talking like you’d never leave. Then you were gone. No note. No message. Nothing.” Lucien’s jaw flexed. The thin line of blood along it cracked. He lifted a finger and wiped it away, then stared at the red on his glove as if judging the shade. “I told you not to get attached.” Aurora’s laugh sounded wrong in her own ears. “You told me a lot of things.” His gaze cut to her mouth, then away. “You listened.” “Don’t make this my fault.” Lucien stepped closer, close enough that the cramped kitchenette turned into a trap. He didn’t touch her. He didn’t need to. His presence filled the space like smoke. “You want fault?” he said. “Fine. I left because if I stayed, I would have ruined you.” Aurora kept her hands busy, took a strip of gauze from the tin, wrapped his forearm with neat, angry precision. “You ruined me anyway.” Lucien’s breath hitched. He reached out, fingers hovering near her left wrist. He paused, waited, like he offered her the choice of being brave. Aurora didn’t pull away. That refusal cost her. His thumb brushed her scar, feather-light. Her skin sparked. The touch felt obscene in the middle of Eva’s kitchen, under the stare of a tabby cat and a sink full of dirty mugs. “You’re intact,” Lucien murmured. “You adapted. Like you always do.” Aurora swallowed. “Is that why you’re here? To check your work?” His thumb pressed, a little firmer now, and her pulse answered it. “No,” he said. “I’m here because the people who want me don’t stop at me.” The words landed heavier than his body in the doorway. Aurora’s hands stilled. The flat’s clutter seemed to lean in, listening. “Who?” she asked. Lucien’s eyes flicked towards the sitting room, towards the wall where Eva had pinned photographs and copied sigils, string linking them like a conspiracy board. He knew the patterns. He lived off patterns. “The Sable Court,” he said. Aurora felt her stomach drop, then harden. She had heard the name in the undercurrent of the Golden Empress, in the way certain customers held their chopsticks like knives. A group that dealt in favours and souls with equal grace. “You don’t get their attention for free,” Aurora said. Lucien’s mouth tightened again. “No.” “What did you steal?” “I didn’t steal.” He paused. “I withheld.” Aurora scoffed. “That’s your version of innocence.” He leaned in, close enough that his words brushed her cheek. “They want a ledger.” Aurora’s fingers curled around the edge of the sink until her nails pressed into porcelain. “A ledger of what?” Lucien’s eyes sharpened, hungry and bleak at once. “Names,” he said. “Payments. Contracts. Human and otherwise. The kind of list that makes powerful men pray to gods they don’t believe in.” Aurora’s mind raced through what she’d seen on Eva’s table earlier, the new parchment, the cramped handwriting, the one page Eva had snatched away too quickly. “You think Eva has it,” Aurora said. Lucien’s gaze held hers without blinking. “I know she has it.” Aurora’s voice dropped. “How?” Lucien didn’t answer. His silence carried implication like perfume. Eva’s flat. Eva’s research. Eva’s secrets. And Lucien, always at the centre of the web, smiling while it tightened. “You used her,” Aurora said. Lucien’s black eye went colder. “Eva used me. Everyone uses me. Don’t pretend you didn’t.” Aurora stepped back, forced distance. The flat’s narrow corridor opened behind her, lined with books stacked in unstable towers. She could see Eva’s bedroom door, covered in taped-up notes, and the sitting room beyond, where a circle of chalk marked the floorboards, half-smudged by hurried feet. “I didn’t invite you,” Aurora said. “You don’t get to barge in here and drag your mess through her life.” Lucien’s cane tapped once against the floor. A neat, controlled sound. A warning he’d dressed up as a habit. “And yet,” he said, “you let me in.” Aurora’s cheeks heated. She hated that he was right. She hated that her body had recognised him before her brain had finished listing reasons to slam the door. Ptolemy crept from under the console table, eyes wide and unblinking, then darted towards the sitting room, tail low. Aurora watched the cat go, and a sick feeling crawled up her throat. Ptolemy didn’t flee when Eva’s friends visited. He didn’t skulk for no reason. He reacted to things he couldn’t explain with language. Aurora moved past Lucien into the sitting room. Papers littered the floor, some covered in Eva’s tight scrawl, others in older scripts that looked like scratches in bone. The chalk circle sat off-centre, broken at one edge where a shoe had smeared it. Lucien followed without speaking. He stood in the doorway and watched Aurora like she was the only object worth measuring. Aurora crouched, picked up a photograph from the floor. A blurred shot of a man leaving a building, face turned away. Another photo lay beneath it, a close-up of a hand with a signet ring. The ring bore a symbol like a crescent swallowing a star. Aurora’s breath caught. “That’s Sable Court,” she said. Lucien’s cane tip clicked softly against the wood. “Yes.” Aurora stood, photo in hand. “If they’re involved, why would they come to a flat above a curry house? They could burn this whole building down and call it urban renewal.” Lucien stepped in behind her. His chest hovered near her back, heat without contact. His voice slid into her ear. “Because Eva did something clever,” he said. “She hid it under their noses. And because you’re here. They know you’re here.” Aurora turned fast, too fast, and her shoulder brushed his chest. The contact punched air from her lungs. Lucien’s hand shot out and caught her elbow, steadying her, possessive in the same breath. “Don’t,” she snapped, but her body leaned into the hold before she could stop it. Lucien’s gaze dropped to her mouth again. He looked like he could kiss her out of spite, out of longing, out of strategy. Dark romance with a knife tucked behind its back. A sharp crack split the flat. Not from inside. From the front door. Wood groaned. The deadbolts shuddered as if something heavy had slammed into them from the corridor. Dust shook free from the doorframe. Ptolemy yowled and shot under the sofa. Aurora’s heart jerked into her throat. She moved without thought, grabbed the nearest heavy object, Eva’s thick hardback grimoire, and held it like a weapon. Lucien’s expression didn’t change, but his grip tightened on his cane. The ivory handle rotated a fraction, and Aurora heard the faint metallic whisper of a hidden blade shifting inside. Another удар, harder. The top deadbolt snapped with a sound like bone. Lucien’s voice stayed calm, a cruel lullaby. “Now,” he said, “you can tell me you miss nothing about me.” The second deadbolt tore free. The door buckled inward, splitting along the frame, and something on the other side laughed, low and wet, as if it tasted fear through the cracks.
created_at"2026-02-19T03:52:28.106Z" 2/19/2026, 3:52:28 AM
model"openai/gpt-5.2-20251211"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency10045
moderation_latency(null)
generation_time83146
tokens_prompt4556
tokens_completion3789
native_tokens_prompt4075
native_tokens_completion3683
native_tokens_completion_images0
native_tokens_reasoning546
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"
usage0.05244365
router(null)
provider_responses
0
endpoint_id"f00142c2-6a93-49ce-9e36-5593b904ce3b"
id"resp_0584ee5b367289ef01699688fc3f1c819684195981efdad1a7"
is_byokfalse
latency255
model_permaslug"openai/gpt-5.2-20251211"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771473148-43LEdUQgARDRDy8m8UnE"
upstream_id"resp_0584ee5b367289ef01699688fc3f1c819684195981efdad1a7"
total_cost0.05244365
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
totalTags29
adverbTagCount1
adverbTags
0"he said again [again]"
dialogueSentences78
tagDensity0.372
leniency0.744
rawRatio0.034
effectiveRatio0.026
93.59% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2340
totalAiIsmAdverbs3
found
0
adverb"slightly"
count1
1
adverb"quickly"
count1
2
adverb"softly"
count1
highlights
0"slightly"
1"quickly"
2"softly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
65.81% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2340
totalAiIsms16
found
0
word"weight"
count1
1
word"traced"
count1
2
word"flicked"
count2
3
word"measured"
count1
4
word"pulse"
count2
5
word"calculate"
count1
6
word"stomach"
count2
7
word"vibrated"
count1
8
word"porcelain"
count1
9
word"raced"
count1
10
word"silence"
count1
11
word"implication"
count1
12
word"whisper"
count1
highlights
0"weight"
1"traced"
2"flicked"
3"measured"
4"pulse"
5"calculate"
6"stomach"
7"vibrated"
8"porcelain"
9"raced"
10"silence"
11"implication"
12"whisper"
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
narrationSentences203
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount1
narrationSentences203
filterMatches
0"feel"
1"look"
2"observe"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences252
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen40
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2326
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions39
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions100
wordCount1906
uniqueNames7
maxNameDensity2.05
worstName"Aurora"
maxWindowNameDensity5
worstWindowName"Aurora"
discoveredNames
Aurora39
Moreau1
Eva18
Lucien34
Ptolemy6
Golden1
Empress1
persons
0"Aurora"
1"Moreau"
2"Eva"
3"Lucien"
4"Ptolemy"
places(empty)
globalScore0.477
windowScore0
50.79% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences126
glossingSentenceCount5
matches
0"as if reading braille"
1"something between restraint and hunger"
2"as if judging the shade"
3"looked like scratches in bone"
4"looked like he could kiss her out of spit"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.43
wordCount2326
matches
0"not to her face but to her left wrist, to the small crescent scar"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount4
totalSentences252
matches
0"hated that Lucien"
1"hated that he’d"
2"hated that he"
3"hated that her"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs131
mean17.76
std13.68
cv0.77
sampleLengths
021
156
216
316
42
527
67
749
87
933
1039
118
122
1338
1412
152
165
1725
183
1915
206
216
225
2347
2417
2511
2646
2723
287
2936
304
3148
3237
334
3411
353
3612
372
3811
398
409
4159
4217
4332
447
458
4651
4734
4835
496
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences203
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs367
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences252
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1920
adjectiveStacks1
stackExamples
0"careful over scattered books."
adverbCount58
adverbRatio0.030208333333333334
lyAdverbCount7
lyAdverbRatio0.0036458333333333334
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences252
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences252
mean9.23
std6.83
cv0.74
sampleLengths
021
139
217
316
416
52
67
74
85
911
107
1137
1212
137
1428
155
163
176
1830
195
203
212
2217
2312
249
257
265
272
285
2922
303
313
3215
336
346
355
3617
3713
384
3913
4014
413
4211
435
4420
4521
463
478
4812
497
42.46% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats19
diversityRatio0.23412698412698413
totalSentences252
uniqueOpeners59
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences170
matches(empty)
ratio0
67.06% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount65
totalSentences170
matches
0"She didn’t step back."
1"She didn’t invite him in."
2"She let the chain hang"
3"His gaze dipped, not to"
4"His mouth tightened, not apology,"
5"She angled her body to"
6"His nostrils flared."
7"He had brought the smell"
8"His lips parted in something"
9"He shifted his cane and"
10"His voice dropped."
11"His gaze flicked past her"
12"He had always moved like"
13"he said again, softer, and"
14"His cane angled, not striking,"
15"She hated that Lucien had"
16"She hated that he’d known"
17"She unhooked the chain and"
18"He turned immediately, back to"
19"She kept her palm on"
ratio0.382
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount158
totalSentences170
matches
0"The last deadbolt snapped open"
1"Lucien Moreau filled the gap"
2"A thin line of blood"
3"Ptolemy launched himself off the"
4"Lucien lifted his free hand,"
5"Aurora kept her grip on"
6"She didn’t step back."
7"She didn’t invite him in."
8"She let the chain hang"
9"His gaze dipped, not to"
10"His mouth tightened, not apology,"
11"She angled her body to"
12"His nostrils flared."
13"Copper stung the air between"
14"He had brought the smell"
15"His lips parted in something"
16"He shifted his cane and"
17"Blood seeped through expensive fabric"
18"Lucien leaned closer, close enough"
19"His voice dropped."
ratio0.929
29.41% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences170
matches
0"If he felt it, he"
ratio0.006
77.07% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences76
technicalSentenceCount7
matches
0"Lucien Moreau filled the gap like a bad decision made flesh, one amber eye, one black, his tailored charcoal suit torn at the sleeve, his ivory-handled cane ang…"
1"Ptolemy launched himself off the book-stacked chair with a sound that belonged in an alley fight."
2"His gaze flicked past her shoulder, to the corridor beyond, as if he measured distance, exits, angles."
3"Lucien slipped in without brushing her, which felt deliberate, and still her skin flared as if he had."
4"When she faced him, Lucien stood in the middle of Eva’s sitting area, surrounded by research notes and curled parchment, as if he’d stepped into a battlefield m…"
5"The deadbolts shuddered as if something heavy had slammed into them from the corridor."
6"The door buckled inward, splitting along the frame, and something on the other side laughed, low and wet, as if it tasted fear through the cracks."
90.52% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags29
uselessAdditionCount2
matches
0"She angled, as if Lucien had not already memorised every weakness in every room he entered"
1"she snapped, but her body leaned into the hold before she could stop it"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags26
fancyCount2
fancyTags
0"Lucien murmured (murmur)"
1"she snapped (snap)"
dialogueSentences78
tagDensity0.333
leniency0.667
rawRatio0.077
effectiveRatio0.051
80.3570%