Run: 2026-02-19-01KHT0G0P54A1HFPGJR90RPFGR

Run Details

Duration:
1m 11s
Cost:
$0.010207
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 chain rattled before the door was halfway open. He stood in the corridor like he owned the light, a charcoal suit that ate the shadows and left nothing but his face, slicked-back blond hair, one eye amber, the other black. Up close, he smelled of citrus and something older, metal and smoke, the way a match smells just before it dies. Ptolemy arched and spat, claws skittering on the floorboards. "Lucien." Two syllables meant to shut a conversation down, not start one. His smile curved like a promise and a threat at once. "Rory." He stepped into the flat without waiting for an invitation, the ivory handle of his cane tapping a neat rhythm on the lino. "You look exactly how I last saw you, which is to say, dangerous and unreadable. A most satisfying combination." She closed the door behind him, fingers finding the first deadbolt out of habit. Eva's flat had three locks, three different levels of denial. That was the point: some people liked to be safe. Others liked to count how many safe things they had left. "Don't stand there," she said, and she locked the first bolt hard. Her thumb ran over the small crescent scar at the base of her wrist. The motion steadied her. "What are you doing here?" "Precisely what you imagined." He moved farther inside, and the flat exhaled at his passage, the stacks of books shifting like a jury rearranging itself. He took in the cramped room with a single slow sweep, as if cataloguing evidence rather than admiring. "Trouble, it seems." "You ring, you send messages, you make yourself scarce, then you show up unannounced at three in the morning, and you call that help?" Her voice did not waver. It was spare, rehearsed. Emotion hid in the joints. He had a knack for finding where she kept the thin places. Ptolemy planted himself on Lucien's dress shoes, tail flicking, as if claiming him for the household. The cat purred against fine fabric, which made her skin go cold in a way no one intended. "Don't be ridiculous." He crouched, the movement elegant, and removed a gloved hand slowly, deliberately, like someone peeling a bandage off a secret. His fingers were long, the nails immaculately trimmed, and he allowed the cat to sniff the scent of his skin. "I only wished to see if you were still breathing. Curiosity, a poor one's compassion. Call it what you prefer." She did not smile. There had been a time when his polished words had cut through her defences. There had also been a time when she had believed his absence meant he had chosen to leave. She had patched herself with work and silence. The memory of how he had left, without explanation, a bitter knot in her chest, tightened. "You could have texted. You could have used the key you still have, if you're going to act like a gentleman intruder." His amber eye caught the light, and it was a keener thing than any argument. "Keys are less dramatic." "You like drama." "I prefer efficiency." He straightened, cane tapping once, twice. "And I prefer not to let you die for lack of a better word." The flat tilted on the axis of that sentence. She felt the old reflex, flaring and stupid, to argue everything that had been left unspoken. He had saved her, once. He had also left her when she needed someone to look back with her. The ledger of wrongs sat between them like a third, insolent person. "You can't just arrive and claim guardianship," she said, tone clipped. "That's not how anything works." "It has always been how you operate." He smiled with a patience that did not belong to him. "You make lists, you barricade doors, you read aloud to yourself from old law texts and call it preparation. Admirable. Slightly lacking in companionship." "Companionship does not come with an ivory cane." "The cane has many functions." He tapped it against the floor as though testing for a fault line. "It conceals a blade, for example. Practicalities, Rory. London does have unpleasant permutations." The name slipped out of him like a private concession. It made the air between them thinner. "You always called me Rory in person and Miss Carter over breakfast," she said. "Decide and stick to it." He laughed, low, amused. "A compromise then. Rory, I did not come to trade barbs. I came because someone mentioned your name in a place where names are currency." The flat, with its paper stacks and ink rings, had always smelled like ideas and old smoke. Now that scent seemed to close in on them. He had a way of saying things that meant more than the words. "Evan?" The word tasted like rust. The last time she had spoken it she had felt the blood under her skin rise. The memory came quick: the slamming door, the bruises she answered for, the way fear had become routine until she had split it off and fled in the night. Lucien's expression shifted, the light catching the two-colour of his eyes and making him look less human and more like a diorama, perfectly arranged. "Not exactly," he said. "But connected to him. There are men who keep records, Rory. Names, addresses, debts. He asked after you." "Asked?" She felt all her defences flare. "How did he find out where I am? I changed everything. I moved. I made all the sensible choices." "You did." He stepped closer, close enough that she could count the faint flecks of gold at the edge of his amber eye. "You did everything sensible, except you assumed sensible would be enough. It rarely is." "You're being melodramatic." She pushed at him with a flat hand, not hard. His suit smelled of danger and citrus. "Who says he knows? Who said anything at all?" "A woman at the docks." Lucien's voice lowered. "A woman who buys secrets, and sells them with polite manners. She named a price for silence. He paid twice. Names were exchanged like coins." He paused, and when he spoke his words had the weight of currency. "You are not safe alone, Aurora." "Don't call me that here." He looked at her then, and for a beat the room seemed to expand and compress around his attention. He reached out before she could brace herself, thumb tracing the crescent scar at her wrist with an intimacy that was not permission-giving. "It's smaller than I remember," he murmured. She jerked her hand away so fast the motion was rude. "Hands off." "I apologise. Bad reflex." He withdrew, palms held out as an offering, as if his carefully managed composure needed to be displayed like a treaty. "I came to tell you to leave. Leave now. There are people on the other side of your life who would like to make you an example." "Leave? Where am I supposed to go, Lucien? To some hotel with too many empty beds and too little sense? I have a life here. I have a job. Yu-Fei expects deliveries, and Eva will cut me for ruining her carpets if I arrive with this flat empty." "Your life is a collection of things that make sense until they do not." He smiled again, softer this time. "Give me a night. Let me arrange a safe place. Allow me to be useful." "And in return you get what? The privilege of leaving again when things get rough?" He did not answer immediately. He tapped the cane once, as if listening to a distant metronome. When he spoke, the sentence was small and honest. "I do not intend to leave, this time." That declaration should have meant something. It did not sound like the Lucien who left under the cover of polite excuses, who had a thousand ways to disappear. It sounded like someone staking a claim. The old wound flared: I cannot trust you. Then another, quieter pull: I wanted you to stay. Before she could craft another retort, the living room door shook. A hard punctuation, not the polite rap of neighbours but the kind of knock that was more insistence than request. The three deadbolts on Eva's door trembled under the force. Someone outside shouted a name. "Aurora Carter." The voice called, flat and male. "Open up. We know you're in there." The air in the flat changed with that syllable. Lucien's posture narrowed, the way a predator's shoulders do when it smells the metal of its prey. Ptolemy, who had been all softness, flattened his ears and growled, a low sound that seemed too wise for a tabby. "Who is it?" Her voice did not sound like the same person who had been trading barbs a minute ago. It came smaller, focused. Her fingers found the second bolt, twisting it, twisting. She had always been methodical; she had practised fleeing, locks and alarms like a litany. Lucien moved and, without asking, took his cane in both hands, and the ivory handle flicked open along a seam she had not noticed. The blade inside caught what little light there was and sent it back in a thin, indifferent flash. "Stay behind me." He did not ask. It was the sort of command that carried the weight of truth and history both. Ptolemy leapt to the windowsill and hissed at the corridor, as though letting the intruder know he would not go unremarked. "You're not staying if he comes through this door." She felt the old, hot coil of fury again, protectiveness and pride bundled in a single impulse. "If he steps into this flat, I'm not letting you carry him anywhere." "Good." He let the blade nestle back into the cane with a soft click. "I prefer not when others get formal with me until I ask." The knocking increased, the voice sharper now, as if the man outside had a key to intimidation and intended to use it. "Aurora Carter, open the door. You can make this easier or we make it unpleasant." Lucien's eyes, amber and black, slid to hers. For all his cultivated composure, something older, predatory, lived there. He had a history with violence and a practiced touch with people's fragile pieces. He had also left her once. In a heartbeat, she weighed history against survival and decided which she preferred. "You're not going to be the reason I run," she said quietly. "If I am," he replied, "I will be the first to catch you when you trip." Wood protested in the corridor. Something metallic scraped like a blade being drawn along a hinge. The third deadbolt, the last defence, sat under her thumb. The choice stood between them like a hinge on a door, creaking slowly toward whatever lay beyond. Lucien's hand brushed hers, a brief contact that set the hair along her arm upright. Ptolemy's purr crescendoed into a protective thrum. Outside, someone laughed, low and patient. The lock clicked. The intruder had a patience edge carved from malice. The sweetest part of London sank into a slow, sharp silence. Lucien's jaw set. The cane's ivory carved a neat, white line in his grip. "One step and I will cut the light out of this building," he said softly, words that were less threat than promise. "And you will wish you had been kinder." The handle of the door gave under pressure, a splintering whisper that tasted like inevitability. The corridor light beyond the peephole pooled across their faces in a cold, clinical smear. Whatever stood outside was patient enough to wait the half-second for everything to fall apart on the inside. Aurora's finger left the final deadbolt, breath held like a fragile, borrowed thing. The door groaned. The hinges shuddered. She felt every tiny, jagged memory of him sitting between them, the unfinished sentences, the absences like sharp edges. Lucien shifted forward, blade now only hinted at the seam of his cane, a single movement away from violence. He had not promised to stay before. Now he stood in a doorframe of splinters and shadow, and for the first time since he had left, the promise felt like a vow. Someone outside muttered, the voice close enough now to hear the scrape of a boot. "Open up, Aurora. We can do this the easy way." Lucien's lips curved. The smile was not for her. It was for the moment before the storm. He tightened his grip on the cane. He had a reputation for being precise. He had a reputation for speaking four languages and for walking away when the tide turned. Tonight, he was nothing but a man in a suit with a blade in his hand and a look that promised to answer every question with a fight. The door gave. Wood splintered and let shape into the light.
created_at"2026-02-19T03:53:28.027Z" 2/19/2026, 3:53:28 AM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency26974
moderation_latency(null)
generation_time70536
tokens_prompt4556
tokens_completion3116
native_tokens_prompt4075
native_tokens_completion4594
native_tokens_completion_images0
native_tokens_reasoning1856
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"
usage0.01020675
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_0f60b159868c91560169968938256c8196820df081f57f05d9"
is_byokfalse
latency153
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771473208-mpsfViEUvTf0y95K9D36"
upstream_id"resp_0f60b159868c91560169968938256c8196820df081f57f05d9"
total_cost0.01020675
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
68.85% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags27
adverbTagCount4
adverbTags
0"The word tasted like [like]"
1"He smiled again [again]"
2"she said quietly [quietly]"
3"he said softly [softly]"
dialogueSentences61
tagDensity0.443
leniency0.885
rawRatio0.148
effectiveRatio0.131
81.40% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2151
totalAiIsmAdverbs8
found
0
adverb"precisely"
count1
1
adverb"slowly"
count2
2
adverb"deliberately"
count1
3
adverb"slightly"
count1
4
adverb"perfectly"
count1
5
adverb"carefully"
count1
6
adverb"softly"
count1
highlights
0"precisely"
1"slowly"
2"deliberately"
3"slightly"
4"perfectly"
5"carefully"
6"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)
69.78% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2151
totalAiIsms13
found
0
word"unreadable"
count1
1
word"silence"
count3
2
word"unspoken"
count1
3
word"weight"
count1
4
word"tracing"
count1
5
word"trembled"
count1
6
word"predator"
count1
7
word"methodical"
count1
8
word"flicked"
count1
9
word"carried the weight"
count1
10
word"whisper"
count1
highlights
0"unreadable"
1"silence"
2"unspoken"
3"weight"
4"tracing"
5"trembled"
6"predator"
7"methodical"
8"flicked"
9"carried the weight"
10"whisper"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"weight of words/silence"
count1
highlights
0"the weight of truth"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences131
matches(empty)
77.43% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount4
narrationSentences131
filterMatches
0"look"
1"know"
hedgeMatches
0"seemed to"
1"tended to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences165
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen49
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2146
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions19
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions21
wordCount1540
uniqueNames5
maxNameDensity0.71
worstName"Lucien"
maxWindowNameDensity1.5
worstWindowName"Lucien"
discoveredNames
Lucien11
Eva2
Wood2
London1
Ptolemy5
persons
0"Lucien"
1"Eva"
2"Wood"
3"Ptolemy"
places
0"London"
globalScore1
windowScore1
0.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences105
glossingSentenceCount9
matches
0"as if cataloguing evidence rather than admiring"
1"as if claiming him for the household"
2"as though testing for a fault line"
3"smelled like ideas and old smoke"
4"as if listening to a distant metronome"
5"sounded like someone staking a claim"
6"as though letting the intruder know he would not go unremarked"
7"tasted like inevitability"
8"felt like a vow"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.466
wordCount2146
matches
0"not the polite rap of neighbours but the kind of knock"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences165
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs64
mean33.53
std17.2
cv0.513
sampleLengths
09
162
21
322
443
545
635
746
850
934
1063
1160
1222
1319
143
1523
1656
1716
1842
198
2031
2117
2219
2329
2439
2551
2646
2726
2837
2929
3033
3119
325
3342
347
3513
3652
3748
3835
3915
4034
4152
4246
4315
4447
4548
4642
4743
4839
4926
99.91% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences131
matches
0"been left"
1"being drawn"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs277
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences165
ratio0.006
matches
0"She had always been methodical; she had practised fleeing, locks and alarms like a litany."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1544
adjectiveStacks0
stackExamples(empty)
adverbCount50
adverbRatio0.03238341968911917
lyAdverbCount10
lyAdverbRatio0.006476683937823834
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences165
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences165
mean13.01
std7.35
cv0.565
sampleLengths
09
132
221
39
41
511
611
724
819
914
1010
1110
1211
1312
1414
154
165
1725
1818
193
2029
214
225
2312
2416
2518
2623
2720
2820
294
3014
3118
328
3316
3422
3515
364
373
389
3914
409
4116
425
4314
4412
4511
465
4718
4824
498
44.65% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats18
diversityRatio0.3333333333333333
totalSentences165
uniqueOpeners55
26.25% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences127
matches
0"Then another, quieter pull: I"
ratio0.008
37.32% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount58
totalSentences127
matches
0"He stood in the corridor"
1"His smile curved like a"
2"He stepped into the flat"
3"She closed the door behind"
4"she said, and she locked"
5"Her thumb ran over the"
6"He moved farther inside, and"
7"He took in the cramped"
8"Her voice did not waver"
9"It was spare, rehearsed."
10"He had a knack for"
11"He crouched, the movement elegant,"
12"His fingers were long, the"
13"She did not smile."
14"She had patched herself with"
15"His amber eye caught the"
16"He straightened, cane tapping once,"
17"She felt the old reflex,"
18"He had saved her, once."
19"He had also left her"
ratio0.457
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount117
totalSentences127
matches
0"The chain rattled before the"
1"He stood in the corridor"
2"Ptolemy arched and spat, claws"
3"His smile curved like a"
4"He stepped into the flat"
5"She closed the door behind"
6"Eva's flat had three locks,"
7"That was the point: some"
8"Others liked to count how"
9"she said, and she locked"
10"Her thumb ran over the"
11"The motion steadied her."
12"He moved farther inside, and"
13"He took in the cramped"
14"Her voice did not waver"
15"It was spare, rehearsed."
16"Emotion hid in the joints."
17"He had a knack for"
18"Ptolemy planted himself on Lucien's"
19"The cat purred against fine"
ratio0.921
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences127
matches
0"Now that scent seemed to"
1"Before she could craft another"
2"Now he stood in a"
ratio0.024
6.80% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences63
technicalSentenceCount12
matches
0"He stood in the corridor like he owned the light, a charcoal suit that ate the shadows and left nothing but his face, slicked-back blond hair, one eye amber, th…"
1"He took in the cramped room with a single slow sweep, as if cataloguing evidence rather than admiring."
2"Ptolemy planted himself on Lucien's dress shoes, tail flicking, as if claiming him for the household."
3"The cat purred against fine fabric, which made her skin go cold in a way no one intended."
4"She felt the old reflex, flaring and stupid, to argue everything that had been left unspoken."
5"He reached out before she could brace herself, thumb tracing the crescent scar at her wrist with an intimacy that was not permission-giving."
6"He tapped the cane once, as if listening to a distant metronome."
7"A hard punctuation, not the polite rap of neighbours but the kind of knock that was more insistence than request."
8"Ptolemy, who had been all softness, flattened his ears and growled, a low sound that seemed too wise for a tabby."
9"The knocking increased, the voice sharper now, as if the man outside had a key to intimidation and intended to use it."
10"Lucien's hand brushed hers, a brief contact that set the hair along her arm upright."
11"The handle of the door gave under pressure, a splintering whisper that tasted like inevitability."
69.44% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags27
uselessAdditionCount3
matches
0"He straightened, cane tapping once, twice"
1"she said, tone clipped"
2"She pushed, not hard"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount1
fancyTags
0"he murmured (murmur)"
dialogueSentences61
tagDensity0.148
leniency0.295
rawRatio0.111
effectiveRatio0.033
79.3945%