Run: 2026-02-19-01KHT0JW0Q8DK88DESA11KM3TN

Run Details

Duration:
59.3s
Cost:
$0.009061
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 door hit the wall and Lucien stepped inside as if he owned the angle of sunlight cutting across the carpet. He left a trail of cold perfume on the air, a clean, dangerous scent that smelled of old money and winter alleys. Ptolemy arched and then fled beneath the bed. "You're persistent," Aurora said, standing with a book clutched to her chest because hands betrayed her more than words did. "Persistence or poor timing? Depends on who asks." He closed the door behind him, the deadbolts clicking in the frame like a metronome she had not expected to hear. Aurora did not move to lock them. She had three bolts at the entrance to Eva's flat out of habit, not paranoia. Eva had always liked locks, and books, and an entire ecosystem of paper to hide in. Tonight the scattered scrolls smelled of dust and something she could not place, copper maybe, or candle wax. Ptolemy’s paws tapped the wooden floor like Morse code. "Lucien," she said. The name came out smoother than she felt. He unbuttoned his charcoal coat slowly, the way a man who had held other people's secrets for a living took off only what he needed. The ivory handle of his cane caught the lamp light and flashed a line of white. He never put the cane down. He did not need to use it for walking, but it gave him balance. It grounded him. It hid a thin promise. "You look well," he said, and both the words and the gap before them said everything that had been unsaid for a year. He studied her hand on the book, the small crescent scar on her left wrist visible where the sleeve had ridden up. The amber eye measured, the black one catalogued. "You disappeared," Aurora answered before the sentence could twist into something her voice might betray. "You don't get to skip town and then stroll back like you left a postcard." "I left because staying was worse." He walked toward the small kitchenette as if the room itself could tell him where things stood. "You chose to run." "I fled Evan," she said. Saying his name still made the old tremor knot the base of her throat. "Not because I liked running. Because I had to." Lucien paused at the counter and turned, the movement smooth, studied. "I know what he did," he said. "I know what he meant to do." "Then why leave?" The question was clean, trimmed down to its hard edges. She had asked it in other ways—late at night, in the dark—and each time he had given her reasons dressed as inevitabilities. Evacuations of truth. Lucien’s mouth quirked. He always carried a smile that fit half a threat and half a joke. "Because I am a liability you did not need." "You were my—" She stopped. She had been about to say ally, protector, friend. Words meant less than his absence. "You were something," she finished. His amber eye softened the tiniest fraction. "I thought so." He set the cane against a chair, not touching the blade but letting the metal whisper against wood. "Aurora, you are not an accessory to my decisions." She crossed the tiny room, annoyed at the heat that climbed around her chest when he was near. The flat was so full of things that moving meant making noise: a stack of research notes teetered; a paperback slid, fell, and landed face down between their feet like an accusation. Ptolemy darted out and rubbed his head against Lucien's ankle. The cat's indifference put them both out of order for a second. "You're here because someone sent you," she said. "You're not the type who knocks unless there's a ledger to balance." "Sometimes the ledger is my ledger," he said. He crouched, and for a heartbeat his posture changed from immaculate businessman to something almost human as he scratched Ptolemy behind the ears. "And sometimes I come because I want to see the person I am supposed to keep at arm's length." She laughed, bitter and quick. "Save it. If you were here because you feared for me, you should have stayed. Stayed near Evan's orbit and kept him from thinking he owned the sky." "I could not bind him, not without telling you things that would have destroyed your world in service of keeping you from being hurt." He rose, closing the distance until the flat's cramped air seemed designed to force confession. "You deserve something other than fragments. I thought leaving would make those fragments less likely to be used against you." "You left me with fragments that cut deeper," she said. Her voice had thinned to a blade. "You're always eloquent about sacrifice. You are never forthcoming about cost." "Is honesty always useful?" He tilted his head, his accent making the words soft, dangerous. "Because telling you I am half-demon would have made you a target. Telling you about—" He stopped. There were things that even his careful language could not hold. Aurora felt the thread of old anger tighten. "And yet you sent people to watch me." "I sent no one." His denial arrived swift and calm, like a trained hand. "I never suited them to be close." He tapped his cane twice, a small, measured sound. "I watched from distance." "From distance." She said the words as if cataloguing evidence. "Distance as a verb." Lucien smiled without humour. "It kept you alive." "It kept me lonely," she said, and the admission surprised them both. She had told herself loneliness was preferable to having him in her orbit and being burned by the sun that lived inside his eyes. But saying it aloud made her feel as if she had admitted to missing a dangerous thing. "You left before the worst, Lucien. That doesn't absolve you." He flinched the barest degree, like a chord struck out of tune. "For which you will never forgive me." "I never forgive well," she said, setting her palm on the table to steady herself. "I don't like that I still notice your coat when a gust hits me on the High Street. I don't like how Ptolemy prefers you to me this evening." "You have always preferred plans over people," he said. He reached for the fallen paperback and smoothed its cover with fingers that were precise, careful. "And yet, you are the only person I trust to not brand my secrets as weapons." The room hummed with the weight of things left unsaid. Lucien's presence wore the flat down into a different shape. Her pulse tapped at that new contour like someone testing for an echo. He looked at her wrist again where the crescent scar caught the light, drawing his gaze as if it were a map. "You kept your wrist," he said. "You did not forget to survive." "I kept a scar," she said. "Sometimes surviving looks like poor choices." "Survival looks like you, not choices." He said the last word softly, almost against decorum, and the syllable lodged in the narrow space between them. His proximity made it hard to think beyond the immediate. She could see the tiny fly in his amber eye, the fleck of colour in the dark one. She could smell the tang of metal and sawdust under his cologne, and it reminded her of other rooms, other deals. It made her throat close. She had been careful for so long that the idea of bending now felt like risk. "Why are you here, truly?" she asked. He had been careful with answers so far; a skill, not a habit. "Because someone killed a man at Silas' last week." He watched her reaction with something close to pity. "He had been asking about you before he died." Silence knifed into the room. Ptolemy froze and looked from one to the other. "Who?" It was the only question that mattered. Lucien did not answer immediately. He moved to the window and pulled aside the curtain only a little, peering down into the neon-dim memory of Brick Lane half-lit by a street lamp. "Not a man you know. A courier, used to ferry small parcels between unsavoury hands. He trafficked in information that people would kill for. He had spoken your name, Aurora Carter, on the phone three nights ago." Her stomach dropped. "Why my name?" Lucien closed his eyes for less than a beat, and in that flash she saw, in a way she rarely let herself see, how heavy his decisions were. "Because you touch things that pull the wrong kind of attention. Because you stumbled into a ledger that others wanted thicker." "You mean my part-time shifts at the Golden Empress?" The ridiculousness of it clattered into the small room like a dropped cup. "I'm a delivery person, Lucien. I bring noodles. I don't meddle in ledgers." He smiled without the earlier pity, something like admiration in the set of his jaw. "You are a delivery person who knows how to slip a note into a dumpling carton and how to read a symbol scrawled in tomato sauce. People who are patient watch for patterns, Aurora. You have become a pattern." She felt exposed in a way that went past the scar. "So you came because of a dead courier." "And because I could not leave you to answer a question I had caused," he said. He stepped back, the movement deliberate, almost protective. "I closed my business with those who needed to know you were unreachable. It failed." The flat shrank until their breaths were a concert between them. Lucien's hand hovered near his cane. Her body remembered the rhythm of being saved and the aftertaste of betrayal. She wanted to ask how long he had been shadowing her, whose hand had pushed the courier into the road, whether any of this was about Evan or another knife entirely. A sudden, hammering knock made them both start. Three sharp slams on the door that did not belong to polite callers. The sound had the wrong tone, the kind of impatience that belonged to people without patience for preambles. "Open up. Police." The voice outside was precise, not the thin voice of investigators but something rehearsed. "We have a warrant." Lucien moved like liquid, and for the first time in hours she saw an edge she had been expecting. He reached for the cane, the ivory handle gleaming. He set himself between the door and her as if the space had always existed for battles. "Police?" Aurora's laugh snapped. "They tend to come with badges and not bullhorns." "The kind of police who do not pull warrants," he said, and the small black eye calmed. "We have visitors." Another knock, louder, this time accompanied by the unmistakable sound of metal scraping against wood, the beginning of a forced entry. The flat's three deadbolts trembled. Eva's door had always felt secure because she believed in locks, not because the locks kept out the things that mattered. "Lucien," Aurora said, and something in her voice broke, neither fear nor bravery but a raw inventory. "Who did you make angry?" He met her eyes with an answer that was a promise and an accusation wrapped together. "Someone who thinks you know more than you do." Before she could form a reply, the knob rattled hard enough to make the plaster shiver. Voices. Heavy boots on the stair. The corridor outside the flat filled with sound, the kind of sound that ate refuge. Lucien tightened his grip on the cane. He did not draw the blade; he never drew it unless the room required it. But the ivory handle slid in his palm like a prelude. "Stay behind me," he instructed, and the imperative was not a question. Aurora bristled at the command, at the idea that he could place her behind him as if she were fragile. Then the door shuddered under a battering ram that meant someone had already decided persuasion was over. The flat filled with the scent of oil and the metallic tang of anxiety. Ptolemy skittered to the back of the wardrobe as the first crash of splintering wood answered the knocks. It sounded as if the corridor had become a machine. Lucien's black eye widened the fraction of a blink before it hardened. He stepped to the edge of the room, cane raised like a conductor about to give the signal for a beginning that would not be gentle. The final blow broke the deadbolts with the sound of a thousand small betrayals. The lock gave, the latch splintered, and the door bucked inward. They faced the open frame together, breath held, not because they had forgiven the past but because the present demanded a common response. The first silhouette in the doorway was not a uniform. It was a shape cut from dark fabric and sharper intent, and behind it came more shadows like tide. "Lucien Moreau, hands where I can see them," a voice ordered, flat and alive as a blade. "It seems the ledger wants its balance," he said, and there was no theatre in his voice now, only business. He tipped the cane, exposing the faint glint of steel at its edge, and the room leaned forward into a fight that would answer everything they had left unsaid.
created_at"2026-02-19T03:55:01.564Z" 2/19/2026, 3:55:01 AM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency20537
moderation_latency(null)
generation_time59178
tokens_prompt4556
tokens_completion3515
native_tokens_prompt4075
native_tokens_completion4453
native_tokens_completion_images0
native_tokens_reasoning1664
native_tokens_cached3840
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"
usage0.00906075
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_0cf43a07a80b7e7f0169968995a5d88195a946f87185275e45"
is_byokfalse
latency127
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771473301-WEm3dcta2LTi8TJFMFGj"
upstream_id"resp_0cf43a07a80b7e7f0169968995a5d88195a946f87185275e45"
total_cost0.00906075
cache_discount0.000864
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
totalTags37
adverbTagCount0
adverbTags(empty)
dialogueSentences73
tagDensity0.507
leniency1
rawRatio0
effectiveRatio0
93.28% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2233
totalAiIsmAdverbs3
found
0
adverb"slowly"
count1
1
adverb"softly"
count1
2
adverb"truly"
count1
highlights
0"slowly"
1"softly"
2"truly"
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)
75.37% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2233
totalAiIsms11
found
0
word"measured"
count2
1
word"whisper"
count1
2
word"weight"
count1
3
word"pulse"
count1
4
word"echo"
count1
5
word"silence"
count1
6
word"stomach"
count1
7
word"gleaming"
count1
8
word"trembled"
count1
9
word"glint"
count1
highlights
0"measured"
1"whisper"
2"weight"
3"pulse"
4"echo"
5"silence"
6"stomach"
7"gleaming"
8"trembled"
9"glint"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"stomach dropped/sank"
count1
highlights
0"stomach dropped"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences132
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount0
narrationSentences132
filterMatches
0"feel"
1"see"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences166
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen39
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2227
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions27
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions34
wordCount1598
uniqueNames10
maxNameDensity0.75
worstName"Lucien"
maxWindowNameDensity1.5
worstWindowName"Lucien"
discoveredNames
Lucien12
Aurora7
Eva3
Morse1
Saying1
Ptolemy6
Silence1
Brick1
Lane1
Evan1
persons
0"Lucien"
1"Aurora"
2"Eva"
3"Ptolemy"
4"Silence"
5"Evan"
places
0"Brick"
1"Lane"
globalScore1
windowScore1
29.81% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences104
glossingSentenceCount5
matches
0"seemed designed to force confession"
1"as if cataloguing evidence"
2"felt like risk"
3"something close to pity"
4"something like admiration in the set of his"
65.29% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords1.347
wordCount2227
matches
0"not touching the blade but letting the metal whisper against wood"
1"not the thin voice of investigators but something rehearsed"
2"neither fear nor"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences166
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs64
mean34.8
std17.73
cv0.51
sampleLengths
051
120
229
365
411
569
653
730
827
928
1025
1138
1226
1325
1437
1572
1620
1750
1833
1959
2028
2143
2216
2334
2414
258
2663
2719
2844
2941
3055
3112
3212
3325
3470
357
3640
3714
388
3969
406
4149
4235
4354
4419
4539
4661
4739
4821
4945
97.29% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences132
matches
0"been unsaid"
1"being burned"
2"being saved"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs281
matches(empty)
74.01% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount3
flaggedSentences4
totalSentences166
ratio0.024
matches
0"She had asked it in other ways—late at night, in the dark—and each time he had given her reasons dressed as inevitabilities."
1"The flat was so full of things that moving meant making noise: a stack of research notes teetered; a paperback slid, fell, and landed face down between their feet like an accusation."
2"He had been careful with answers so far; a skill, not a habit."
3"He did not draw the blade; he never drew it unless the room required it."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1602
adjectiveStacks0
stackExamples(empty)
adverbCount42
adverbRatio0.026217228464419477
lyAdverbCount12
lyAdverbRatio0.00749063670411985
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences166
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences166
mean13.42
std7.68
cv0.572
sampleLengths
021
122
28
320
429
57
615
716
818
99
103
118
1225
1316
146
1514
163
175
1823
1922
208
2115
2215
2323
244
255
2614
279
2811
297
307
3113
3222
333
343
3514
369
375
389
396
405
417
4221
439
4418
4532
4610
4712
488
4912
41.57% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.27710843373493976
totalSentences166
uniqueOpeners46
28.49% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences117
matches
0"Then the door shuddered under"
ratio0.009
14.87% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount60
totalSentences117
matches
0"He left a trail of"
1"He closed the door behind"
2"She had three bolts at"
3"He unbuttoned his charcoal coat"
4"He never put the cane"
5"He did not need to"
6"It grounded him."
7"It hid a thin promise."
8"he said, and both the"
9"He studied her hand on"
10"He walked toward the small"
11"She had asked it in"
12"He always carried a smile"
13"She had been about to"
14"His amber eye softened the"
15"He set the cane against"
16"She crossed the tiny room,"
17"He crouched, and for a"
18"She laughed, bitter and quick."
19"He rose, closing the distance"
ratio0.513
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount109
totalSentences117
matches
0"The door hit the wall"
1"He left a trail of"
2"Ptolemy arched and then fled"
3"Aurora said, standing with a"
4"He closed the door behind"
5"Aurora did not move to"
6"She had three bolts at"
7"Eva had always liked locks,"
8"Tonight the scattered scrolls smelled"
9"Ptolemy’s paws tapped the wooden"
10"The name came out smoother"
11"He unbuttoned his charcoal coat"
12"The ivory handle of his"
13"He never put the cane"
14"He did not need to"
15"It grounded him."
16"It hid a thin promise."
17"he said, and both the"
18"He studied her hand on"
19"The amber eye measured, the"
ratio0.932
42.74% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences117
matches
0"Before she could form a"
ratio0.009
63.49% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences63
technicalSentenceCount7
matches
0"He left a trail of cold perfume on the air, a clean, dangerous scent that smelled of old money and winter alleys."
1"She had told herself loneliness was preferable to having him in her orbit and being burned by the sun that lived inside his eyes."
2"But saying it aloud made her feel as if she had admitted to missing a dangerous thing."
3"He reached for the fallen paperback and smoothed its cover with fingers that were precise, careful."
4"He looked at her wrist again where the crescent scar caught the light, drawing his gaze as if it were a map."
5"The sound had the wrong tone, the kind of impatience that belonged to people without patience for preambles."
6"Then the door shuddered under a battering ram that meant someone had already decided persuasion was over."
84.46% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags37
uselessAdditionCount3
matches
0"He tilted, his accent making the words soft, dangerous"
1"she said, and the admission surprised them both"
2"he instructed, and the imperative was not a question"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags23
fancyCount2
fancyTags
0"Aurora's laugh snapped (snap)"
1"a voice ordered (order)"
dialogueSentences73
tagDensity0.315
leniency0.63
rawRatio0.087
effectiveRatio0.055
80.3554%