Run: 2026-02-19-01KHT0XSE0NFCDYQ795BWNSWKV

Run Details

Duration:
1m 17s
Cost:
$0.009901
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 slid free and the door swung just enough for a sliver of the hall's yellow light to spill onto the floorboards, and there he was, standing under it like a portrait that had stepped down from its frame. Slicked-back platinum hair, charcoal coat soaked at the shoulders, the ivory-handled cane tucked under his arm catching light. One eye burned amber, the other drank the room like black glass. "Lucien." His smile arrived slow and precise. Not the warm thing she'd once kept in a pocket for bad mornings, but a blade of politeness honed to an edge. "Rory," he said. "I hope you do not mind the intrusion." Her hand tightened on the brass knob. Three deadbolts, a chain, a peephole. Security she'd practised until it felt like armour. It had stopped strangers. It had not stopped him. "What do you want?" "I require a sofa and the truth." He inclined his head. "Not necessarily in that order." She should have slammed the door, let the bolts bite, let the echo of the slam be the last punctuation between them. She did not. The flat smelled of old paper and curry, the curry from the restaurant below seeping up the stairwell like a stubborn memory. Every surface wore someone else's questions—books stacked by title, notebooks with margins full of arrows and circled words. Ptolemy, Eva's tabby, leapt from the armchair and braided between Lucien's boots, then flattened his ears and spat. Lucien crouched, unbothered. "Hello, small tyrant," he murmured, the word soft enough that it could be private. He did not touch the cat. He did not meet her eyes. "You knew how to get past the deadbolts," she said finally. "You always did." "Selective forces opened them for me," he said. "It is less dramatic than it sounds, and more useful than being dramatic." The flat felt narrower with him in the doorway, as if his presence took up more than his physical space. It was ridiculous, and she let herself be ridiculous with the weapon she had kept at hand for so long. "You had four months' notice," she said. "You had every chance to be dramatic in Marseille, or wherever it was you disappeared to." "You were safer, in my absence." He straightened, the cane's tip taps like an impatient metronome. "But that choice became my sentence, apparently." Safety. The word lodged like a splinter. She could list the things he'd sworn to protect her from, the promises that had been sentences shaped into iron. She could also list the nights when she had waited on an empty sofa, listening for his boots on the stairs and instead hearing only the soft rumble of the curry house extractor. She could list the messages he had not answered, the nights her phone glowed like an accusation on the coffee table. "No," she said, short. "You chose. You walked away." He smiled again, a different curve, one that carried apology like currency he hadn't earned the right to spend. "I chose the only path that gave us a chance," he said. "You have to understand, I cannot explain everything." "That's a new tactic," she said. "Confusion, then mystique. You always had flair." He stepped one foot into the hallway and then another, closing the gap until his coat rest brushed the threshold but the flat still held its line. Close enough that she could see the faint pale crescent scar on his left knuckle. Close enough that the scent of him—cigarette smoke threaded with something older, like metal and thyme—made her nostrils flare. "You left me with questions and three deadbolts," she said. "You left me with Evan breathing down my neck until I left Cardiff." He flinched at the name. A small thing, the way his shoulder dipped, but it was a confession all the same. "Evan found you," he said. "He listened. He traded favours." "You left me to trade favours?" Her laugh came out tight and false. "Is that the version of you who cares, Lucien? Or the one who uses 'favours' like bridesmaids use postcards?" He looked at her then, and for a moment the careful clarity in his features softened. The amber eye, the warm one, flickered like an ember. "I tried to remove him from your orbit," he said. "I underestimated how anchored he was." "And you underestimated me," she said, the words a slow blade. "You think you can walk back into my life with your suits and charming French and I'm supposed to open the book where you left off? No, Lucien. You don't get bookmarks." He laughed, small and sharp. "Bookmarks are sentimental," he said. "I prefer clean conclusions. Unfortunately, life is messy." "Life and you are synonyms then." He cocked his head, precisely amused. "You have not forgiven me." "I haven't had the time," she said. "Time has been used by other things. Work. Avoiding friends who ask too many questions. Staring at the ceiling. Falling asleep and waking up again." Silence, not the comfortable sort, stretched like elastic between them. Ptolemy padded over and wound himself around her ankle, asserting a kind of ownership that was answer enough to a great deal of things. Lucien looked beyond her, past the stacks of books, to the kitchen where a mug still carried the ghost of tea. "You look well on neglect," he observed. She could have struck him then, told him everything she'd wanted to say in a single motion—how his absence had stung like a live wire, how she had learned to brace for loneliness, how she had allowed herself only measured attachments out of preservation. Instead, she let the truth slide into the room like a thin thread. "Why are you here, really?" she asked. "Don't be poetic. Don't be theatrical. Why knock on my door when I have no use for people who vanish?" He closed his eyes for a breath and when he opened them the blackness in one seemed deeper, a depth that did not belong to any human. "There are things in London that do not belong to London," he said. "They move between cracks and prefer tidy little ecosystems. They have noticed you." She was not used to the words fitting together with urgency. He rarely spoke bluntly, but when he did, the effect was like a door slamming. She felt the air change. "Noticed me how?" she asked. "With teeth." He said the word without the drama, and the flat filled with an invisible weight. "I might have known sooner, had I not been an idiot and cut my channels. I am trying to undo the chaos I left behind." "Chaos." She tasted the irony. "You left me chaos. You left me with a broken lock and a history." "I left you with an absence I thought would shield you. I was wrong." He looked at the cane, then back at her. He set it against the shoe rack and it clinked. "There is someone looking for me, and they will not stop because I have a fondness for quiet women and cramped flats." He stepped fully inside then, deliberate, as if entering a territory where he had a right. Fear flicked in her like a candle. The chain creaked, a reminder of everything she had used to keep the world at bay. She could call out. She could lock him out. Instead she closed the distance to take a plate off the table, a small defiant act of domesticity. "Why here?" she asked. "Why Eva's flat?" "You are the one who reads the margins," he said. "You are the one who notices the wrong things in the right books. Whoever hunts me does not know you read the right things, they only know you were close to me. That proximity puts you at risk." She could deny proximity until facts turned to fiction. She had kept her distance, but proximity was a flexible currency. "How long do I have," she asked, turning the plate in her hands like it were a halo she could cradle. "In days, perhaps hours," he said. His face, immaculate until then, tightened. "I brought you a map of possible exits." He put a folded square of paper on the table with the gentleness of an offering. She unfolded it and the map was not a map in the tourist sense but a single page of annotations—names, narrow alleys circled in red, references to places that hummed with otherness: a warehouse in Wapping, the back rooms of Silas' bar, a market stall that sold lucky charms to men who gambled over losses. She read the script and felt the hair at the back of her neck rise. "Why help me?" she said. His mouth twisted. "Because leaving you behind like that was poor taste, and poor ethics. Also because I cannot properly sleep when you are within reach of harm, and that is a selfish motive but also a truthful one." Heat crawled up her neck. He had never been less than elegant in his selfishness. It had been part of his charm. It also wounded like a coin pressed into the skin. Before she could retort, the hall outside erupted with the sound of rapid footsteps, the kind that belonged to men dividing up their fear with urgency. "Lucien Moreau," a voice barked. "Police," another shouted, not official, clipped and coarse, like someone used to blunt force rather than paperwork. The old deadbolt on the door trembled under a shoulder, then under another. Wood groaned. Eva's front door, the one Aurora had chained against the night's small terrors, suddenly felt flimsy under the pounding. Lucien's hand found the cane and his fingers closed around the ivory as if bracing for battle. The amber eye flared. "Who is it?" she demanded, the plate slipping from her fingers and shivering across the tiles. "Open up," the voice outside said. "We know you're in there, Moreau. Step away from the woman." Lucien's jaw set. He looked at her for a heartbeat that stretched until it hurt, as if measuring whether she would run or fight, forgive or lock down like a vault. "Do not open the door," he said. "Do not make any sound that acknowledges them. I can buy us time, but not forever." "Who's 'them'?" she asked. He did not answer. The door splintered like the sudden snap of a twig. The room filled with the smell of dust and the sharp tang of fear. A shape shoved through the gap. Heavy boots, a bulk that belonged to someone who had been hired to break things. "Stay back!" The lead man swung something metallic that gleamed like judgement. Lucien stepped forward, cane in hand like a sword's partner. The first man shoved into the flat and sunlight—or something like sunlight, harsh and unnatural—spilled in behind him. It struck Lucien's face, and for one terrible breath his two eyes matched: one amber, one full of black that seemed to drink the light. The man's hand froze mid-swing. "Lucien Moreau," the intruder said, as if repeating a litany, "you are under—" The sentence died as Lucien moved, fast, an economy of motion honed by years of walking between worlds. The cane flashed, a white arc, and the intruder's arm snapped back with a sound like a branch breaking. Around them, the flat scattered into movement: books skittered, a mug toppled, Ptolemy's hiss became a scream of fur and fury. Aurora found she was not thinking. She was reacting, catching the handlebar of the cane as it spun, feeling the pull between the man and the man who had once left her in a room full of questions. For a second their hands touched, his palm warm and callused, and the world narrowed to that contact, absurdly intimate amid the chaos. Then a second shadow moved through the doorway, faster than the first. The intruder's eyes, however human before, had gone flat and distant. A line of salt-white marks showed along his skin, like scars on a map. "Get them," someone outside hissed. "No witnesses." Lucien's grip tightened on her wrist. The cane's blade would bite if he chose, and the man in the doorway drew something from his belt that glinted with a hungry light. The door behind them banged as more bodies pressed, voices thick with either authority or malice. The flat that had been her sanctuary, lined with margins and marginalia, contracted until it felt like a throat about to close. Lucien did not look at her then. He looked at the intruder and his eyes were no longer only Lucien's. There was a depth there that had nothing to do with charm. "Run," he said, not as a request. The word landed with the weight of an order and the tenderness of a confession. The second intruder lunged. The cane flashed. A plate shattered against the wall, and the smell of copper came up strong, immediate, like a promise about to be fulfilled. The man's hand landed on Lucien's shoulder, fingers clawing. Lucien's blade-wrist moved, an elegant arc that left a red line across a forearm and a man crumpling with a curse that sounded not quite human. Another crash from the hallway, the door splintered further, and a voice, unmistakable and low, called the name that had been a wound in her life, the name she had hoped would never cross her doorway again. "Evan," said the voice, and the room seemed to inhale at once.
created_at"2026-02-19T04:00:59.371Z" 2/19/2026, 4:00:59 AM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3740
moderation_latency(null)
generation_time76719
tokens_prompt4556
tokens_completion4175
native_tokens_prompt4075
native_tokens_completion4873
native_tokens_completion_images0
native_tokens_reasoning1984
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"
usage0.00990075
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_0b3cc0cefe52b10e0169968afb8084819589c9d5c125eabb65"
is_byokfalse
latency148
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771473659-6gItr4ufLWnewiwVf88p"
upstream_id"resp_0b3cc0cefe52b10e0169968afb8084819589c9d5c125eabb65"
total_cost0.00990075
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
totalTags39
adverbTagCount1
adverbTags
0"she said finally [finally]"
dialogueSentences72
tagDensity0.542
leniency1
rawRatio0.026
effectiveRatio0.026
93.38% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2266
totalAiIsmAdverbs3
found
0
adverb"precisely"
count1
1
adverb"really"
count1
2
adverb"suddenly"
count1
highlights
0"precisely"
1"really"
2"suddenly"
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)
62.49% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2266
totalAiIsms17
found
0
word"echo"
count1
1
word"flickered"
count1
2
word"silence"
count1
3
word"comfortable"
count1
4
word"measured"
count1
5
word"weight"
count2
6
word"flicked"
count1
7
word"reminder"
count1
8
word"charm"
count2
9
word"footsteps"
count1
10
word"trembled"
count1
11
word"pounding"
count1
12
word"sanctuary"
count1
13
word"tenderness"
count1
14
word"shattered"
count1
highlights
0"echo"
1"flickered"
2"silence"
3"comfortable"
4"measured"
5"weight"
6"flicked"
7"reminder"
8"charm"
9"footsteps"
10"trembled"
11"pounding"
12"sanctuary"
13"tenderness"
14"shattered"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells2
narrationSentences142
matches
0"r with urgency"
1"r with urgency"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences142
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences174
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen56
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2254
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions41
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions23
wordCount1658
uniqueNames7
maxNameDensity0.78
worstName"Lucien"
maxWindowNameDensity2.5
worstWindowName"Lucien"
discoveredNames
Eva2
Lucien13
Safety1
Silence1
Wapping1
Aurora2
Ptolemy3
persons
0"Eva"
1"Lucien"
2"Aurora"
3"Ptolemy"
places
0"Wapping"
globalScore1
windowScore0.833
0.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences96
glossingSentenceCount9
matches
0"felt like armour"
1"seemed deeper a depth that did not belong to any human"
2"as if entering a territory where he had a right"
3"as if bracing for battle"
4"as if measuring whether she would run or fight, forgive or lock down like a vault"
5"something like sunlight, harsh and unnatural"
6"as if repeating a litany"
7"felt like a throat about to close"
8"not quite human"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.887
wordCount2254
matches
0"Not the warm thing she'd once kept in a pocket for bad mornings, but a blade of politeness honed to an edge"
1"not a map in the tourist sense but a single page of annotations"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences174
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs83
mean27.16
std18
cv0.663
sampleLengths
070
11
228
311
430
54
616
765
821
926
1014
1121
1240
1323
1423
1581
169
1719
1820
1913
2061
2123
2221
2310
2432
2526
2616
2743
285
2913
306
316
325
3332
3434
3528
3657
3727
3827
3926
4031
415
4242
4319
4455
4566
467
4748
4820
4921
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences142
matches
0"been hired"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs300
matches
0"was, standing"
1"was not thinking"
2"was reacting"
60.76% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount7
semicolonCount0
flaggedSentences5
totalSentences174
ratio0.029
matches
0"Every surface wore someone else's questions—books stacked by title, notebooks with margins full of arrows and circled words."
1"Close enough that the scent of him—cigarette smoke threaded with something older, like metal and thyme—made her nostrils flare."
2"She could have struck him then, told him everything she'd wanted to say in a single motion—how his absence had stung like a live wire, how she had learned to brace for loneliness, how she had allowed herself only measured attachments out of preservation."
3"She unfolded it and the map was not a map in the tourist sense but a single page of annotations—names, narrow alleys circled in red, references to places that hummed with otherness: a warehouse in Wapping, the back rooms of Silas' bar, a market stall that sold lucky charms to men who gambled over losses."
4"The first man shoved into the flat and sunlight—or something like sunlight, harsh and unnatural—spilled in behind him."
97.60% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1006
adjectiveStacks0
stackExamples(empty)
adverbCount43
adverbRatio0.042743538767395624
lyAdverbCount8
lyAdverbRatio0.007952286282306162
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences174
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences174
mean12.95
std9.06
cv0.699
sampleLengths
040
118
212
31
46
522
63
78
87
96
108
114
125
134
1411
155
1622
173
1822
1918
2018
213
2214
236
246
2511
263
278
2813
2920
3020
317
3216
3316
347
351
366
3720
3833
3921
404
415
4219
4312
448
456
467
4727
4815
4919
47.51% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats24
diversityRatio0.367816091954023
totalSentences174
uniqueOpeners64
83.33% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences120
matches
0"Instead, she let the truth"
1"Instead she closed the distance"
2"Then a second shadow moved"
ratio0.025
36.67% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount55
totalSentences120
matches
0"His smile arrived slow and"
1"Her hand tightened on the"
2"It had stopped strangers."
3"It had not stopped him."
4"He inclined his head"
5"She should have slammed the"
6"She did not."
7"he murmured, the word soft"
8"He did not touch the"
9"He did not meet her"
10"she said finally"
11"It was ridiculous, and she"
12"He straightened, the cane's tip"
13"She could list the things"
14"She could also list the"
15"She could list the messages"
16"she said, short"
17"He smiled again, a different"
18"He stepped one foot into"
19"He flinched at the name."
ratio0.458
26.67% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount104
totalSentences120
matches
0"The chain slid free and"
1"His smile arrived slow and"
2"Her hand tightened on the"
3"Security she'd practised until it"
4"It had stopped strangers."
5"It had not stopped him."
6"He inclined his head"
7"She should have slammed the"
8"She did not."
9"The flat smelled of old"
10"Every surface wore someone else's"
11"Ptolemy, Eva's tabby, leapt from"
12"Lucien crouched, unbothered."
13"he murmured, the word soft"
14"He did not touch the"
15"He did not meet her"
16"she said finally"
17"The flat felt narrower with"
18"It was ridiculous, and she"
19"He straightened, the cane's tip"
ratio0.867
41.67% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences120
matches
0"Before she could retort, the"
ratio0.008
54.95% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences65
technicalSentenceCount8
matches
0"The chain slid free and the door swung just enough for a sliver of the hall's yellow light to spill onto the floorboards, and there he was, standing under it li…"
1"Ptolemy padded over and wound himself around her ankle, asserting a kind of ownership that was answer enough to a great deal of things."
2"He stepped fully inside then, deliberate, as if entering a territory where he had a right."
3"Before she could retort, the hall outside erupted with the sound of rapid footsteps, the kind that belonged to men dividing up their fear with urgency."
4"He looked at her for a heartbeat that stretched until it hurt, as if measuring whether she would run or fight, forgive or lock down like a vault."
5"She was reacting, catching the handlebar of the cane as it spun, feeling the pull between the man and the man who had once left her in a room full of questions."
6"Lucien's blade-wrist moved, an elegant arc that left a red line across a forearm and a man crumpling with a curse that sounded not quite human."
7"Another crash from the hallway, the door splintered further, and a voice, unmistakable and low, called the name that had been a wound in her life, the name she …"
73.72% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags39
uselessAdditionCount4
matches
0"he murmured, the word soft enough that it could be private"
1"she said, short"
2"the intruder said, as if repeating a litany,"
3"said the voice, and the room seemed to inhale at once"
80.56% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags32
fancyCount5
fancyTags
0"he murmured (murmur)"
1"he observed (observe)"
2"a voice barked (bark)"
3"another shouted (shout)"
4"she demanded (demand)"
dialogueSentences72
tagDensity0.444
leniency0.889
rawRatio0.156
effectiveRatio0.139
81.4206%