Run: 2026-02-19-01KHT0KWK931JTK2V26N17NP8H

Run Details

Model:
GPT-5
Duration:
2m 10s
Cost:
$0.057939
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Fantasy genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4418" name="Nyx" aliases="Nyx, the Shadow, Nightwhisper" pronouns="they/them" species="Shade" storyRole="Wild Card"> <eyeColor>faintly glowing violet</eyeColor> <height>approximately 6'2" in solid form</height> <age>ageless</age> <form>humanoid silhouette of living shadow, can shift between solid and incorporeal</form> <voice>sounds like a whisper carried on the wind</voice> <description>A being of living shadow, existing between the mortal plane and the spaces between realms.</description> <backstory>Nyx was once a human sorcerer named Aldric who became trapped between realms during a failed summoning ritual in 1643. They now exist as a Shade, bound to the mortal plane but able to slip between shadows.</backstory> </character> <character id="4424" name="Isolde Varga" aliases="Isolde, the Seer" pronouns="she/her" species="Half-Fae" storyRole="Oracle"> <eyeColor>pale lavender</eyeColor> <hair>silver, reaching her waist</hair> <height>5'5"</height> <age>300 years old</age> <appearance>ethereal, ageless</appearance> <speech>speaks in riddles</speech> <footprints>leaves no footprints when she walks</footprints> <compulsion>cannot lie (Fae compulsion) but can mislead</compulsion> <description>A Half-Fae seer exiled from the Fae Courts for sharing visions with mortals.</description> <backstory>She now lives in a hidden grove in Richmond Park, offering cryptic prophecies to those who seek her out.</backstory> </character> <location id="853" name="Dymas (Gluttony)" aliases="Dymas, gluttony, Dymasian" realm="Hel" sin="Gluttony"> <ruler>Prince Belphegor</ruler> <skyColor>warm amber</skyColor> <description>A place of excess and indulgence. Sprawling vineyards, orchards, and gardens provide exotic ingredients for master chefs — often helbound souls contracted from Earth. Grand feasts and culinary competitions are common.</description> </location> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> <item id="2006" name="Fae-Forged Blade" aliases="the Fae blade, Isolde's gift" type="Weapon" origin="The Fae Courts"> <material>moonsilver</material> <shape>slender, leaf-shaped dagger</shape> <temperature>always cold to the touch</temperature> <glow>faintly luminescent in moonlight</glow> <power>can cut through magical wards; particularly effective against demons</power> <givenTo>given to Aurora by Isolde as a gift</givenTo> <description>A weapon of the Fae Courts, rare and highly coveted.</description> </item> <lore id="7001" name="The Veil" aliases="the Veil, the Barrier, the Boundary" category="Cosmology"> <solsticeEffect>weakens during the winter solstice, strengthens during the summer solstice</solsticeEffect> <appearance>faint shimmering distortion visible only to those with supernatural sight</appearance> <monitoring>rift points (tears in the Veil) are monitored by the Wardens</monitoring> <description>The Veil is the metaphysical barrier separating Earth from Hel and the Fae Realms.</description> </lore> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the fantasy genre. A small group enters an ancient, otherworldly place for the first time. The environment is alien and wondrous. Describe their exploration — what they see, hear, and feel as they move deeper. Include moments of discovery, unease, and wonder. Let the world-building emerge through the characters' experience rather than exposition. Use the codex entries above as your world reference for characters, setting, and lore. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Rory pressed the knife into the chalk line and the air peeled open like silk snipped on a tailor's table. The cut breathed, warm on her face, and the Heartstone on her chest beat a quiet heat in time with it. Nyx hovered at her shoulder, all edges and absence, a human shape that did not quite belong to surfaces. Isolde stood back from the door, silver hair loose down her back, one pale hand lifted as if she held an invisible bird. "Do not swallow," Isolde said, eyes half-lidded. "Not a scent, not a sigh. This threshold eats first-timers whole." "Comforting," Rory said. She shifted her grip on the moonsilver. The blade drank heat as it always did, a little bite into her palm, a little steadier breath in her chest. "We go right, we go fast. If anything talks, we don't believe it." Nyx laughed and it came like wind under a door. "Believe nothing, taste less, step where the salt has kept its courage." "Great," Rory said. "Wish me luck." She stepped through. Light changed like the taste of tea turned to wine mid-sip. The corridor they entered curved like a corkscrew cellar, though no mason had laid those bricks. Rows of bottles grew from the walls as if the stone had budded them. They bulged like green and black grapes, glass veined with trapped colours, a thousand eyes of wine watching. A drip hit the floor and fizzed. Her shoes stuck for an instant in a gloss of sugar, and the Heartstone under her shirt warmed another notch. "Belphegor's pantry," Nyx whispered. "He labels eternity and arranges it by mouthfeel." "Walk," Rory said. "Keep your hands to yourself." Isolde smiled without teeth. "Hands tucked, heart loud. Speak kindly to the bones of this place, child, for they feed kings." They moved deeper and the air thickened around them, sweet with burnt sugar and something briny under it, like tears cooked down. A cart track cut the floor, grooves powdered with salt. Rory's footprint pressed into it, dampening the white to grey. Isolde's feet kissed nothing. Even the salt did not complain under her. "This is wrong," Rory said. "Correct," Isolde said. Rory almost snorted, then did not, because sound carried too well in there, darting ahead of her like mice. Far down the curve, she heard knives in an empty kitchen. Not cutting, practising. The metal drew breath, then stopped. Someone unseen approved and clicked a tongue. The bottles hummed as if they kept bees. Rory edged her shoulder away from the glass. Faces blurred and vanished in their depths, stretched thin as gold leaf. She caught her own for a heartbeat, black hair a tangle, blue eyes too bright in the murky glow. The crescent scar on her wrist looked like a bite taken from her. "Don't look too long," Nyx murmured. "Some vintages take you back in the glass and leave the skin to walk." "Noted," Rory said. The corridor unfurled into a hall large enough to swallow a stadium. No walls contained it, just lines of trellised vines rising and falling in gentle arcs, like green ribcages breathing. Clusters of fruit hung heavy, heart-sized, their skins a dinner-plate of colours, rainbows turned to flesh. Hearts, not heart-like. They beat, faint and regular, a thousand polite patients on the other side of a hospital ward. "Orchard," Rory said. "Of course." "Of course," Isolde said. "Eight hundred trees and not a bird, for the birds here leave full and never fly again." Rory tipped her chin at the path. It had been laid in alternating tiles of salt and charred bone. Her feet made honest sounds on the bone, soft suss on salt. Time wobbled around them, the way a heat shimmer wobbled a road, and the pendant pulsed like a cat purring too close. She could have stared. She wanted to. The vines had fat, white flowers like mouths caught mid-laugh. A breeze that did not exist turned the petals, and somewhere an audience held its breath. Above, through the trellises, the sky was amber, thick as honey, and not the colour of anything she wanted in her lungs. "Keep to the path," she said. They kept. The tiles led past low tables carved from old barrels, their surfaces burnt with brands. Not letters, not any writing she knew, just knife scores arranged in patterns, tallied like battles won in kitchens. A bell sat on each table, little silver tongues peeking, waiting for fingers to summon. "Competitions," Nyx breathed. "Every century, every hour. He measures genius in courses and ends it with applause." "Whose genius," Rory said, eye caught on a knife jutting from a stump. The handle had been polished by slow hands, thousands of them maybe. The blade wore a nick that matched the notch in her scar, and her stomach turned a slow circle. "Those who bargain," Isolde said, "and those who break." Rory's tongue had a memory of lemon curd on it, sharp and bright and gone before she had swallowed. Mum on a Sunday with a glass bowl and a whisk and a grin that climbed her cheek. She stopped dead. "Do not," Isolde said, soft and sharp. "Do not chase tastes here. They are hooks." "Fine," Rory said. Her voice came out tight. She rolled her shoulders. "We look for a service door. Nyx, shadows." "Shadows," Nyx agreed, and stepped into the shade of a table. They stretched and thinned and slipped across the floor as if the ground were a pond and they, a skater. Their shape found a seam in the far wall, a line where tile met tile and the air tasted like iron filed fine. "There," they whispered from everywhere and nowhere. "A path the cooks keep for blood and bargains." Rory went to it. The seam looked like nothing, a trick of eye, grim grime. She laid her wrist against the wall and the Heartstone gave a pleased breath of heat. The seam exhaled the scent of clove and hot coin. She brought the Fae blade up, its slender, leaf-shaped length humming in her bones. She pressed the tip into the seam and pushed. The wall opened as if it had been waiting for that exact touch. Cold air spilled out. Real cold, not the lush chilled darkness of a cellar, but the breath of something that did not need heat in its life. It tasted like the inside of old porcelain. Rory stepped through, blade up. The service corridor beyond ran straight and mean. Hooks hung from chains at intervals, empty and swaying as though the staff had gone the minute before and left their breath behind to move the metal. Shelves lined the left wall, laden with jars sealed with wax. Labels, careful handwriting on stained paper. Rory read a few as she passed and slowed until she stopped. "Jennifer Ellis, Lemon Curd," she said. Her throat closed on the name. The jar looked innocent, the sort of thing you would pick up at a fete, a charity stall, a school fair. Pale yellow light lived in it, trapped summer made spreadable. "She made that the day I crashed my bike," Rory said. "I split my wrist. She let me lick the spoon while Dad moaned about sugar." Nyx's head cocked. "Memory and taste, married and bottled. Belphegor is sentimental in the way that knives are sentimental. They like the shape of a throat." Isolde stepped close enough for the silk of her hair to whisper across Rory's shoulder, close enough for her lack of warmth to be felt like a thought. "Take nothing that already took you." Rory breathed out and left the jar, hands shaking and fists closed. She moved along the shelf. Names she did not know peered back, old ladies' penmanship and block scrawls, little hearts dotting i's. Food as spell and chain. A stew that smelt like childhood by half the city if you had a nose for it. "Who gave me the pendant," Rory said, voice flat. "That is what this is about, isn't it." Isolde looked at her without blinking. "A heart finds its house." "Not an answer." "A gift binds," Isolde said. "A lure shines. You were called as a fish is called, and here you came, clever mouth snapping only when you saw the line. But you saw it." "Who," Rory said. Nyx drifted ahead. "Names in Hel are paid by the slice," they said. "Ask me later, when we stand on shadows and not on bones." They reached the end of the corridor and a door made from the same porcelain taste, white with a sheen under it like a fingernail. No handle. The blade in Rory's hand quivered with a cold eagerness. She pressed the point to the seam and cut. The room inside glowed red as banked coals. No fire burned, yet heat moved in thick pulses from the thing that sat in the centre, a heart of stone big as a barrel, veined with darker lines that beat, beat, beat. Its surface glistened, not wet, not blood, something like fat that never cooled. Pipes ran from its base into the floor. The air sharpened with cinnamon and regret. Nyx's voice went small. "Hearts do not belong in kitchens." "Everything eats," Isolde said. The Heartstone on Rory's chest gave a thrilled hum, a little animal excited to see its mother. She stepped forward without deciding to. The pendant tugged on its chain. Her hand went up and caught it without thought. The stone under her fingers felt alive. Not beating, not quite, but awake. "Rory," Nyx said, rebuke and worry and want. "It came from here," Rory said. She heard the click of the silver chain on her nail. "It knows it." "All hearts know their home," Isolde said. "Not all should go back." Rory stopped at the edge of a circle set into the floor around the furnace heart. The circle had been inlaid with salt and char, same as the path outside, except here the salt was pink with some old bleed and the char had been polished smooth by the soles of men who had paced and paced until their bargains ran out. Symbols sat at the cardinal points, curved and ugly. She did not know the language, but she felt the meaning. Occupied. Reserved. Property. "You two ready to run," Rory said. Her breath smoked and then did not, a trick of the eyes. "Because if I touch this and it throws a fit, there will be bells." "Bells," Nyx agreed, thin and delighted and sick. "We will run," Isolde said. "And we will not run far enough." Rory crouched and slid the blade under the first sigil. The moonsilver spoke to nothing and yet the salt hissed as if a snake turned under it. She lifted, careful and steady, and the rune broke with a tidy little pop. The room took a breath. Somewhere behind them, bells began to ring. Rory shut her eyes for one heartbeat, opened them and slashed the second sigil and the third. The fourth lay under a thin glaze of sugar that gleamed like frost. She cut that too. The circle shivered. The furnace heart's beat skipped and came back angrier, louder, more awake. The pendant on her chest flared with heat enough to sting. She pulled it up and held it in her palm. The deep crimson glowed like wine seen through a candle. The glow inside it brightened, tugging, answering, desperate. "Careful," Nyx said. "Show me careful later," Rory said. She stepped through the broken circle and put her hand to the stone. Sound went flat. The heartbeat under her hand slowed and then strobed, frantic as a trapped bird. Heat roared through her skin and pain climbed her arm like something with legs. Behind her, Nyx made a noise like smoke caught in a throat. Isolde's hand brushed her back with that same not-weight, not-warmth, a ghost telling her to live. "There is a door behind this," Rory said through her teeth. "A proper one. The Veil barely covers it." "Barely," Nyx said, awe and hunger twined. "The skin of the world is a gauze here." Isolde placed two fingers on the stone, closed her eyes and smiled in that way she had when she liked what hurt. "Dymas breathes against us. We are in his mouth." "Grand," Rory said. "I am going to steal his tooth." She shoved. She did not have a lever. She had the knife and the necklace and her will, and sometimes that had been enough. The Fae blade slid between heart and pipe as cheerfully as a key in a familiar lock. The stone whined. The pipe strained. The pendant in her palm yanked towards the seam so hard the chain cut her fingers, and she bared her teeth and leaned without grace. A crack ran up the heart, clean as a glass scored and snapped. Amber light burst out of it and washed over her face, on her tongue, in her ears. The Heartstone screamed soundlessly in her hand. The air thickened around them, then gave. For an instant, the Veil's shimmer bled into sight, a film of water dropped over an oil fire. It tore, just a little. Enough. A voice rolled out of the split. It came like soup ladled into a bowl, like laughter across a table and grease on a lip. "Contestants," it said, polite and delighted. "To your stations." The doors they had not seen in the walls opened like mouths. Figures came in, wearing aprons white and spotless, eyes wide and smiling, knives in their hands and hunger in their faces. Jars rattled to attention on shelves. The bells went mad, each with its own small scream. The trellised vines in the hall outside shook themselves awake and the heart-fruits tightened their beats and listened. Nyx flicked from shadow to shape. "We run now," they said. Rory yanked the blade free and the crack widened. Sugar dust sluiced from the ceiling in a glittering rain that cut like sand. Isolde closed her hand into a fist and three of the smiling staff turned their heads at a wrong angle, hearing a riddle. For one second they did not move. "Door," Rory said, but the place answered before any of them could. The service corridor behind them trembled and fell flat to an impossible distance. Between here and there, the air thickened into something like jelly, wobbling. The first of the chefs lifted a lid from a pan and steam poured out, thick and rich and full of a smell that made Rory want, down to old bones. Her stomach knotted. Her mouth watered. Her hand rose without permission. Isolde's fingers closed on her wrist, cool as marble. "Eat not," she said, voice a blade. The chef's smile widened and snapped twice, once on each side, a grin too big for any human face. He raised his knife. The furnace heart bucked under Rory's palm and the crack spat light and dark both. From that seam, something long and lean and full of wet joints began to push through, testing the room as if a tongue tested teeth, hunting for the softest part of what it would first bite.
created_at"2026-02-19T03:55:34.907Z" 2/19/2026, 3:55:34 AM
model"openai/gpt-5-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency24310
moderation_latency(null)
generation_time129554
tokens_prompt5338
tokens_completion4551
native_tokens_prompt4854
native_tokens_completion5720
native_tokens_completion_images0
native_tokens_reasoning2368
native_tokens_cached4736
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"
usage0.0579395
router(null)
provider_responses
0
endpoint_id"7c2f859a-7890-4e8e-b1de-1cd1c0a800b4"
id"resp_03883a4889d5833e01699689b6ffd081909df9db1963340f3a"
is_byokfalse
latency101
model_permaslug"openai/gpt-5-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771473334-TJG0VwktWcNhvy7rIqN1"
upstream_id"resp_03883a4889d5833e01699689b6ffd081909df9db1963340f3a"
total_cost0.0579395
cache_discount0.005328
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
totalTags42
adverbTagCount0
adverbTags(empty)
dialogueSentences73
tagDensity0.575
leniency1
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2565
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
62.96% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2565
totalAiIsms19
found
0
word"silk"
count2
1
word"comforting"
count1
2
word"depths"
count1
3
word"pulsed"
count1
4
word"stomach"
count2
5
word"chilled"
count1
6
word"porcelain"
count2
7
word"whisper"
count1
8
word"warmth"
count2
9
word"quivered"
count1
10
word"weight"
count1
11
word"familiar"
count1
12
word"flicked"
count1
13
word"trembled"
count1
14
word"marble"
count1
highlights
0"silk"
1"comforting"
2"depths"
3"pulsed"
4"stomach"
5"chilled"
6"porcelain"
7"whisper"
8"warmth"
9"quivered"
10"weight"
11"familiar"
12"flicked"
13"trembled"
14"marble"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"stomach dropped/sank"
count1
highlights
0"stomach knotted"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences209
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences209
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences241
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen46
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2555
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions50
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions79
wordCount2124
uniqueNames8
maxNameDensity1.69
worstName"Rory"
maxWindowNameDensity3.5
worstWindowName"Rory"
discoveredNames
Heartstone5
Rory36
Isolde18
Sunday1
Fae2
Nyx15
Food1
Veil1
persons
0"Heartstone"
1"Rory"
2"Isolde"
3"Nyx"
4"Veil"
places(empty)
globalScore0.653
windowScore0.5
0.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences139
glossingSentenceCount9
matches
0"not quite belong to surfaces"
1"looked like a bite taken from her"
2"tasted like iron filed fine"
3"looked like nothing, a trick of eye, grim"
4"tasted like the inside of old porcelain"
5"felt like a thought"
6"something like fat that never cooled"
7"not quite but awake"
8"something like jelly, wobbling"
82.58% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords1.174
wordCount2555
matches
0"not the lush chilled darkness of a cellar, but the breath of something"
1"Not beating, not quite, but awake"
2"not quite, but awake"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences241
matches
0"lines that beat"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs80
mean31.94
std24.57
cv0.769
sampleLengths
020
163
218
344
422
56
63
786
812
98
1021
1154
125
133
1446
1560
1620
173
1867
195
2021
2153
2255
236
2451
2517
2644
279
2840
2915
3020
3170
3241
3376
3464
3543
3626
3726
3834
3956
4017
4111
423
4333
443
4525
4646
4769
4810
494
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences209
matches
0"been laid"
1"been polished"
2"been polished"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs382
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences241
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1194
adjectiveStacks1
stackExamples
0"slender, leaf-shaped length"
adverbCount42
adverbRatio0.035175879396984924
lyAdverbCount2
lyAdverbRatio0.0016750418760469012
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences241
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences241
mean10.6
std7
cv0.661
sampleLengths
020
121
219
323
47
511
63
77
821
913
1010
1112
123
133
143
1511
1616
1714
1818
197
2020
214
228
233
245
254
2617
2722
2810
2910
304
318
325
333
3419
3511
363
376
387
398
408
4112
4219
4313
446
4514
463
4712
4819
4916
59.61% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats18
diversityRatio0.4024896265560166
totalSentences241
uniqueOpeners97
57.47% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences174
matches
0"Even the salt did not"
1"Pale yellow light lived in"
2"Somewhere behind them, bells began"
ratio0.017
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount45
totalSentences174
matches
0"She shifted her grip on"
1"She stepped through."
2"They bulged like green and"
3"Her shoes stuck for an"
4"They moved deeper and the"
5"She caught her own for"
6"They beat, faint and regular,"
7"It had been laid in"
8"Her feet made honest sounds"
9"She could have stared."
10"She wanted to."
11"She stopped dead."
12"Her voice came out tight."
13"She rolled her shoulders."
14"They stretched and thinned and"
15"Their shape found a seam"
16"they whispered from everywhere and"
17"She laid her wrist against"
18"She brought the Fae blade"
19"She pressed the tip into"
ratio0.259
8.85% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount157
totalSentences174
matches
0"Rory pressed the knife into"
1"The cut breathed, warm on"
2"Nyx hovered at her shoulder,"
3"Isolde stood back from the"
4"Isolde said, eyes half-lidded"
5"She shifted her grip on"
6"The blade drank heat as"
7"Nyx laughed and it came"
8"She stepped through."
9"Light changed like the taste"
10"The corridor they entered curved"
11"Rows of bottles grew from"
12"They bulged like green and"
13"A drip hit the floor"
14"Her shoes stuck for an"
15"Isolde smiled without teeth."
16"They moved deeper and the"
17"A cart track cut the"
18"Rory's footprint pressed into it,"
19"Isolde's feet kissed nothing."
ratio0.902
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences174
matches(empty)
ratio0
98.21% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences96
technicalSentenceCount6
matches
0"Isolde stood back from the door, silver hair loose down her back, one pale hand lifted as if she held an invisible bird."
1"The blade wore a nick that matched the notch in her scar, and her stomach turned a slow circle."
2"Mum on a Sunday with a glass bowl and a whisk and a grin that climbed her cheek."
3"The circle had been inlaid with salt and char, same as the path outside, except here the salt was pink with some old bleed and the char had been polished smooth…"
4"The first of the chefs lifted a lid from a pan and steam poured out, thick and rich and full of a smell that made Rory want, down to old bones."
5"From that seam, something long and lean and full of wet joints began to push through, testing the room as if a tongue tested teeth, hunting for the softest part…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags42
uselessAdditionCount2
matches
0"Rory said, voice flat"
1"Rory said, but the place answered before any of them could"
76.83% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags41
fancyCount6
fancyTags
0"Nyx whispered (whisper)"
1"Nyx murmured (murmur)"
2"Nyx breathed (breathe)"
3"Nyx agreed (agree)"
4"they whispered (whisper)"
5"Nyx agreed (agree)"
dialogueSentences73
tagDensity0.562
leniency1
rawRatio0.146
effectiveRatio0.146
83.0175%