Run: 2026-02-19-01KHT0F4ZYPXJ3HXKCWX5T6KSS

Run Details

Duration:
1m 11s
Cost:
$0.011153
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
She wrenched the tape aside with a practiced forearm and stepped down into the hollow where the market breathed its old, damp breath. The air hit her like a hand on the throat—damp, metallic, undercut by something floral and wrong. Someone had emptied a spice jar here and left the scent to rot. "Move back," she said. Nobody moved. They clustered at the perimeter like moths. Flashing lights cast hard, flat faces. A uniform officer stood guard, pale beneath the film of dust. The body lay half inside a collapsed stall, limbs folded wrong, mouth open to a silence that had teeth in it. Detective Harlow Quinn crouched, felt the familiar pull of the scene. Leather watch snug against her wrist, jaw unyielding. She did not kneel. She crouched with military precision: one knee up, one hand on cement, the other reaching. The man's fingers clawed at something small, copper-bright against cracked skin. A compass, small brass, its casing mottled with verdigris. Someone had propped the lid open; the needle spun, slow and indecisive, then jerked violently and fixed itself toward the far wall where service tunnels yawned, sealed by wrought iron and cold mortar. "Where'd you find him?" a voice asked. "By the Northgate stall," said PC Leila Marsh. "Vendors said someone shouted. Then...this." Her hands mimed something too big for language. Jonah Pryce squinted at the compass, then at the body. He kept his voice light, the way men use brightness to deflect the dark. "Looks like a mugging escalated. Stab wound in the chest. Pocket picked, valuables lost. And the kid held on to this like it was his last coin." Eva Kowalski was at Jonah's shoulder, curly red hair a flare in the lamplight, round glasses catching reflections of camera flashes. She smelled of old paper and lemon polish. Her satchel sagged with weight; she had pulled her hand free of it and tucked hair behind her left ear, a habit Harlow had noticed in worse moments than this one. Eva's green eyes slid over the sigils scratched into the compass face. "That's not a travel compass," Eva said. "That's a Veil Compass." Jonah's mouth tightened. "That's a fancy name for a trinket. Camden's full of tourists selling novelty items." "It came from the Veil Market," Eva said. "You know the one. Abandoned Tube station beneath Camden. Bone token to enter. It moves every full moon. The casing has a particular patina when it's by a Shade artisan." Harlow let the last clause hang. Shade artisan. Evocative. Dangerous. Harlow had heard the rumours in darker precincts, the cases that never reached paperwork. She checked the needle again. It trembled, then settled, pointing with a disdainful certainty at the sealed service arch. No blood ran from the wound. The stab puncture blotted the fabric but had not bled. The man's lips were faintly blue, not the purple of a drowned man but the drained blue of oxygen gone wrong. There was no mark of restraint, no obvious defensive wounds, except for the dirt under his nails. Someone had torn at something before they went quiet. "Blood pattern's odd," Harlow said. "He wasn't standing when it happened." "Collapsed, then stabbed," Jonah said. "Someone got to him after." "No," Harlow said. She ran a gloved finger along the jawline, felt the stiff muscle. The jaw was locked like a fist. "He gripped this compass until his fingernail beds cracked. That doesn't happen after death. He was alive and reaching." Eva leaned in close, her breath warm in Harlow's ear. "The Veil Compass points toward the nearest rift. If the needle finds a portal, someone could have used it. Entrance costs a bone token. Maybe the token's in his pocket." Harlow checked pockets. Wallet with a pay card, a receipt for a late bus, a folded photograph—nothing that bit. She unfastened the man's jacket, ran fingertips along the inner lining. A scrap of cloth, a smear of something powdery, pale as ash. "Residue," Jonah said. "Looks like talc. Could be heroin filler." "Matches a saccharum used in certain rituals," Eva said. "Not exactly—" Her voice ran against the crowd. "—unless someone is using a cover story." People in police uniforms took to jargon the way bad actors took to a role. Jonah waved someone in. "Get the chemists down. Sweep for narcotics." Harlow's eyes left the body and found the perimeter. The market stalls had collapsed into each other, wires like entrails, paper bunting dulled by dust. Drawers lay open; goods had been rifled, but not taken selectively. A chessboard lay intact on one stall. A set of enamel cups clinked when a uniform trod past. Nothing suggested a thorough robbery. The radio hissed. "There's a bone token," Eva said suddenly. She drew a bone, small and smoothed, out of her satchel. The officers around them turned; Jonah's smile died. Harlow looked at the token, then at the man's hand. The bone sat in Eva's palm like a verdict. It had a notch carved into its side, worn from handling. It smelled faintly of old earth. "Where'd you get that?" Jonah asked. "From the vendor Lydia," Eva said. "She runs the antiquities stall on Euston. She sells old beads and keeps weird things in jars. She said someone pawned it this morning. Said the boy had been looking for something. He had plate marks on his fingers like he'd been working a lathe." Harlow noticed a smear of bronze beneath the man's nails when Eva moved the hand with gentle fingers, the way a medic moves a fevered limb. Bronze dust, synthetic sweat. Toolwork. Someone who crafted, not someone who stole. "Metalwork," Harlow said. "Not a drug courier. A craftsman." "Or a Shade's apprentice," Eva whispered. "Save the fantasy," Jonah said. He looked at Harlow, the angle of his eyebrows a question. "We run a narrative here. Knife, robbery, murder. We don't—" Harlow held up a hand. "What about footprints?" she asked. They moved to the floor. Dust lay thick, interrupted by tracks: many, varied, overlapping. Trainers, work boots, a child's scuff. The lines were new, not weathered. A set of fine-soled shoes had pressed a neat circle, like a stamp. It was the circle of a pressed sigil. "Fresh," Harlow said. "Someone cleaned through here recently. Like they were setting something up and then left quick." Jonah knelt and took a photograph. "Foot traffic consistent with a market. People drift. No sign of a struggle beyond the victim here." Harlow traced the circle with her eyes. The sigil had been pressed into the dust, not scrawled, clean edges. Whoever had made it had used a stamp or a mould. That required preparation. That argued against a spur-of-the-moment mugging. She remembered Morris. The little details he'd noticed—the angle of a footprint, a scuff on a boot, the taste of an interrogation left like iron on the back of the tongue. He'd said facts mattered when nothing else did. "Jonah," she said. "You see that, right? That circle isn't random." He shrugged. "Looks like someone left their signature." "The signature on market stalls says 'open for business'," Eva said. Harlow crouched and examined the sigil closer. Etched within the circle were slashes, like letters misaligned. Her fingers brushed dead dust and unearthed a hair, fine and grey. Not human. Too stiff, hairlike but tubular. "Shade hair," Eva said, voice small. Harlow did not flinch at the word now. She had shelved superstition before—until Bristol's case, until Morris. But superstition left traces. It left a vocabulary of footprints, smudges, small betrayals. She had learned to read that lexicon. This hair did not belong in Camden's mundane inventory. "This is going to the lab," Jonah said. "We log every part." "Find out who was selling bone tokens," Harlow said. "Check Lydia's list. See if anyone reported a missing token." Jonah made notes. Eva tucked the bone token back in her satchel, fingers lingering on the worn notch. She slid a hand into the satchel and brought out another object, wrapped in cloth: the edge of a compass lid, a tiny shard. Harlow's heart clipped. A compass lid matched the one in the dead man's hand. The shard had been broken clean, like a shell. "Maybe two compasses?" Jonah said. "Or one broken and passed," Eva said. "Someone used it to find a rift and then left part behind." Harlow looked back at the needle. It had begun to wobble again, then spun hard toward the sealed arch. She rose to her feet. On impulse she stepped to the ironwork and pressed an ear to the cold. The wheel of the tunnel beyond hummed, a faint living thrum as if something turned on the other side. "What do you hear?" Jonah asked. "Wind," Harlow said. "Or the wrong kind of air. Like the smell of lavender through a radiator." She ran a gloved finger along the mortar. There it was—abrasion, unreadable script pressed into the seam. The script was not English. Not Latin. Slanted letters that melted in the light. She knew the alphabet from case files that had no conclusion. "We're not letting anyone through there," Jonah said. "No," Harlow agreed, then added, "Seal this arch. Close off the other service points. Get full coverage. Nobody goes in without me." The radio squawked a Directive. The crowd at the edge thickened; someone climbed down to peer. Harlow saw movement beyond the iron arch, like a ripple in fabric. A smell, metallic and sweet, bled out. Copper. Blood. "Back away," Harlow ordered. A uniformed constable attempted a step. The thrum on the other side rose like a heartbeat under the floorboards. The compass in the dead man's hand twitched, then hit the seam of the arch and kept pointing as if it had anchored to something on the other side of the wall. Jonah's voice sharpened. "You want to say what this is, Quinn? Because right now this is a man with a knife wound and people with conspiracy theories." Harlow did not answer Jonah with words. She clicked the watch on her wrist twice, a nervous smallness like a drumbeat in her fingers. She hadn't meant to wind it tonight. She had woken and touched it without thought and found the mechanism resisted. Morris had given her that watch. It wound clean. This one pulled with a catch she did not like. "Detective," Eva said. "If you follow that compass, you'll find the Veil Market. It goes where the rifts smell richest. It's how Shade artisans move their wares." "And we'll find smugglers," Jonah said. "Not ghosts." Harlow looked at the needle, the way it held steady despite the crowd, despite the iron. The compass did not lie. It had been crafted to find rifts, to point toward places where walls had softened. Someone had been carrying it for a reason. Someone had been looking for a door. "Call it in," Harlow said softly. "For the record: possible supernatural nexus. Keep it in the notes. But more than that—no one goes home until we know what that boy was after." She felt the shape of the case rearrange itself in her hands. Where other detectives saw a mugging, she saw a map. Where Jonah saw robbery, she saw the footprints and the stamp, the bronze under the nails, the bone token in Eva's palm. Each detail locked into a latch, and somewhere behind that sealed arch a mechanism slid into place. "Corridor's sealed," Jonah said. He called a number into his radio. "Barrier team on the way. Lab unit too." "Get Lydia," Harlow said. "And every vendor who deals in relics. Pull street CCTV from past eight hours. Check pawn records. And pull the Thames river reports. If someone smuggled a token through there before, someone paid for their silence." "Do you believe in the Veil Market?" Jonah asked, quieter now. Harlow did not like to talk about belief. She spoke in facts. "I believe in evidence," she said. "And in patterns. Morris taught me patterns. Morris is the reason I don't let stories sit. If this compass led him to where he couldn't come back from, I want to know what led him. I want to know who else is losing people." Jonah laughed then, sharp and empty. "You want ghosts on paper." "Go make them tangible," Harlow said. "Find me the token's provenance." Footsteps echoed from the service arch, measured steps like someone dragging a weight. Everyone stiffened. The humming rose to a keening, a whale song pitched wrong. Dust lifted from the seam and traced the air like static. The needle slammed hard against the compass casing and then, with a sound like a throat clearing, spun so violently it knocked the lid clean closed. The lid snapped, and the compass fell from the dead man's fingers and clattered on the concrete. It bounced toward the iron arch and came to rest with its face down. For a moment everyone held their breath. Then the compass turned over. The needle pointed, not at the arch, but at Jonah. He took a step back, eyes wide. "That's...that's impossible." Harlow's mouth was a line. She bent, picked up the compass, and turned it so the needle faced her. It pointed out through the crowd, past the cameras, past Eva, and in the wet, reflected light the needle's shadow stretched long and thin and pointed toward a black seam in the wall where mortar had been rubbed clean in a careful, circular pattern. The seam vibrated one last time and then, without warning, the iron grate bowed inward as if pressed from the inside. A voice, low and wet like rain in an old grave, said something in a language nobody in that station wanted on their tongue. "Everyone back," Harlow snapped. She felt the room tilt. The cost of curiosity had always been steep. Tonight it looked like a bill had come due. Footsteps from within the arch, the scrape of something heavy on stone, and a hand, pale and long-fingered, eased through the opening and touched the dust with nails that gleamed like the compass's brass. The market had shifted to this place for a reason. The hand recoiled, then another followed, then a face that was not a human face but which had all the polite assembly of one—eyes like dull coins, a mouth that did not know how to smile. It tipped its head at Harlow, the tiniest of acknowledgements, and reached forward. Harlow drew her service baton. She did not fumble. She moved with the certainty of someone who had stood in worse places. Around her, a chorus of breaths held. The air tasted of iron. She heard Jonah swear under his breath and Eva make a sound that might have been a name or a prayer. The hand curled around a discarded stall sign and flung it aside like paper. "Quinn," Jonah whispered, as if the name alone could root her. Harlow tightened her jaw and stepped forward. The compass in her hand pointed unerringly at the thing that had come through, then at the arch, then at the darkness beyond. Her watch clicked against the concrete. She did not know how the clock and the compass and the dead man and Morris fit together. She only knew there were pieces on the floor and people in the way of them. The creature moved, quick enough to tear the moment in two. Jonah lunged. Eva flung the bone token into the arch as if she could wedge the seam shut with its small, worn body. The token struck something with a noise like a bell and skittered into the dark. The creature turned, a wet, gliding motion, and from beyond the arch came the sound of many things uncoiling, like gears finding life. Harlow braced. She felt the pattern solidify, the old, stubborn itch of a case resolving into purpose and threat. The needle of the compass sang against her palm. "Shoot it if it advances," she said. "You're ordering me to shoot a—" Jonah began. "Do it," she said. Her voice left no room for argument. He brought the baton up instead, then lowered it. The creature smiled as if understanding the joke, and the air around the arch shivered. Something tore at the metal of the gate from the far side, the sound like fabric being shredded, and the first of the market's voices laughed inside the darkness.
created_at"2026-02-19T03:52:59.664Z" 2/19/2026, 3:52:59 AM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
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cancelledfalse
latency5569
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generation_time70667
tokens_prompt4671
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native_tokens_reasoning1408
native_tokens_cached0
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num_input_audio_prompt(null)
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origin"https://ncbench.com/"
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finish_reason"stop"
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latency106
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags45
adverbTagCount2
adverbTags
0"Eva said suddenly [suddenly]"
1"Harlow said softly [softly]"
dialogueSentences77
tagDensity0.584
leniency1
rawRatio0.044
effectiveRatio0.044
96.37% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2757
totalAiIsmAdverbs2
found
0
adverb"suddenly"
count1
1
adverb"softly"
count1
highlights
0"suddenly"
1"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)
63.73% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2757
totalAiIsms20
found
0
word"silence"
count2
1
word"familiar"
count1
2
word"weight"
count2
3
word"trembled"
count1
4
word"synthetic"
count1
5
word"traced"
count2
6
word"etched"
count1
7
word"unreadable"
count1
8
word"pawn"
count1
9
word"tangible"
count1
10
word"footsteps"
count2
11
word"echoed"
count1
12
word"measured"
count1
13
word"vibrated"
count1
14
word"grave"
count1
15
word"resolving"
count1
highlights
0"silence"
1"familiar"
2"weight"
3"trembled"
4"synthetic"
5"traced"
6"etched"
7"unreadable"
8"pawn"
9"tangible"
10"footsteps"
11"echoed"
12"measured"
13"vibrated"
14"grave"
15"resolving"
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
narrationSentences229
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount0
narrationSentences229
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences259
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
totalWords2743
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions41
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions101
wordCount2096
uniqueNames16
maxNameDensity1.77
worstName"Harlow"
maxWindowNameDensity3.5
worstWindowName"Harlow"
discoveredNames
Harlow37
Quinn1
Leila1
Marsh1
Jonah27
Pryce1
Kowalski1
Eva20
People1
Morris4
Bristol1
Camden1
English1
Latin1
Directive1
Footsteps2
persons
0"Harlow"
1"Quinn"
2"Jonah"
3"Pryce"
4"Kowalski"
5"Eva"
6"Morris"
7"Footsteps"
places
0"Leila"
1"Marsh"
2"Bristol"
3"Camden"
globalScore0.617
windowScore0.5
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences145
glossingSentenceCount2
matches
0"looked like a bill had come due"
1"as if understanding the joke, and the air around the arch shivered"
90.63% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords1.094
wordCount2743
matches
0"not the purple of a drowned man but the drained blue of oxygen gone wrong"
1"not at the arch, but at Jonah"
2"not a human face but"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences259
matches
0"read that lexicon"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs93
mean29.49
std19.62
cv0.665
sampleLengths
053
14
247
338
453
57
621
751
872
911
1017
1138
1243
1363
1411
1510
1641
1740
1842
1910
2024
2126
2262
2326
2436
256
2651
2738
289
296
3026
3110
3247
3318
3423
3539
3639
3711
388
3911
4035
416
4246
4312
4419
4565
465
4719
4857
496
96.07% Passive voice overuse
Target: ≤2% passive sentences
passiveCount6
totalSentences229
matches
0"been rifled"
1"been pressed"
2"been broken"
3"been crafted"
4"been rubbed"
5"being shredded"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs374
matches(empty)
10.48% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount7
semicolonCount5
flaggedSentences12
totalSentences259
ratio0.046
matches
0"The air hit her like a hand on the throat—damp, metallic, undercut by something floral and wrong."
1"Someone had propped the lid open; the needle spun, slow and indecisive, then jerked violently and fixed itself toward the far wall where service tunnels yawned, sealed by wrought iron and cold mortar."
2"Her satchel sagged with weight; she had pulled her hand free of it and tucked hair behind her left ear, a habit Harlow had noticed in worse moments than this one."
3"Wallet with a pay card, a receipt for a late bus, a folded photograph—nothing that bit."
4"\"—unless someone is using a cover story.\""
5"Drawers lay open; goods had been rifled, but not taken selectively."
6"The officers around them turned; Jonah's smile died."
7"The little details he'd noticed—the angle of a footprint, a scuff on a boot, the taste of an interrogation left like iron on the back of the tongue."
8"She had shelved superstition before—until Bristol's case, until Morris."
9"There it was—abrasion, unreadable script pressed into the seam."
10"The crowd at the edge thickened; someone climbed down to peer."
11"The hand recoiled, then another followed, then a face that was not a human face but which had all the polite assembly of one—eyes like dull coins, a mouth that did not know how to smile."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1875
adjectiveStacks0
stackExamples(empty)
adverbCount44
adverbRatio0.023466666666666667
lyAdverbCount9
lyAdverbRatio0.0048
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences259
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences259
mean10.59
std8
cv0.755
sampleLengths
023
117
213
34
42
57
66
711
821
911
108
114
1215
1311
149
1533
167
178
1813
1910
2014
2127
2221
238
2431
2512
267
274
283
2914
308
3130
326
332
341
351
3614
375
3814
396
4010
4121
4217
439
445
456
465
475
483
4912
45.82% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats18
diversityRatio0.3166023166023166
totalSentences259
uniqueOpeners82
36.83% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences181
matches
0"Too stiff, hairlike but tubular."
1"Then the compass turned over."
ratio0.011
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount53
totalSentences181
matches
0"She wrenched the tape aside"
1"They clustered at the perimeter"
2"She did not kneel."
3"She crouched with military precision:"
4"Her hands mimed something too"
5"He kept his voice light,"
6"She smelled of old paper"
7"Her satchel sagged with weight;"
8"She checked the needle again."
9"It trembled, then settled, pointing"
10"She ran a gloved finger"
11"She unfastened the man's jacket,"
12"Her voice ran against the"
13"She drew a bone, small"
14"It had a notch carved"
15"It smelled faintly of old"
16"He looked at Harlow, the"
17"They moved to the floor."
18"It was the circle of"
19"She remembered Morris."
ratio0.293
6.96% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount164
totalSentences181
matches
0"She wrenched the tape aside"
1"The air hit her like"
2"Someone had emptied a spice"
3"They clustered at the perimeter"
4"A uniform officer stood guard,"
5"The body lay half inside"
6"Detective Harlow Quinn crouched, felt"
7"Leather watch snug against her"
8"She did not kneel."
9"She crouched with military precision:"
10"The man's fingers clawed at"
11"A compass, small brass, its"
12"Someone had propped the lid"
13"a voice asked"
14"Her hands mimed something too"
15"Jonah Pryce squinted at the"
16"He kept his voice light,"
17"Eva Kowalski was at Jonah's"
18"She smelled of old paper"
19"Her satchel sagged with weight;"
ratio0.906
27.62% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences181
matches
0"Whoever had made it had"
ratio0.006
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences88
technicalSentenceCount4
matches
0"The body lay half inside a collapsed stall, limbs folded wrong, mouth open to a silence that had teeth in it."
1"The wheel of the tunnel beyond hummed, a faint living thrum as if something turned on the other side."
2"The compass in the dead man's hand twitched, then hit the seam of the arch and kept pointing as if it had anchored to something on the other side of the wall."
3"Eva flung the bone token into the arch as if she could wedge the seam shut with its small, worn body."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags45
uselessAdditionCount2
matches
0"Eva said, voice small"
1"Jonah whispered, as if the name alone could root her"
89.02% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags41
fancyCount5
fancyTags
0"Eva whispered (whisper)"
1"Harlow agreed (agree)"
2"Harlow ordered (order)"
3"Harlow snapped (snap)"
4"Jonah whispered (whisper)"
dialogueSentences77
tagDensity0.532
leniency1
rawRatio0.122
effectiveRatio0.122
83.7847%