Run: 2026-02-19-01KHT0YGH1A9AXWE8KMCE0AEKZ

Run Details

Duration:
1m 14s
Cost:
$0.008435
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Mystery genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The compass didn't point north. Harlow crouched, palm poised over the brass casing as if she could steady the needle with a thought. Her left wrist, the worn leather watch catching a spill of fluorescent light, kept the rhythm of seconds like a metronome. The market's noise — murmured Cantonese, a tinny accordion, the distant drip of something metallic — folded around her but did not intrude. She listened to the quiet the body had left behind. "Looks like a dealer, doesn't it?" Davies said, stepping close enough that his breath fogged the compass face. He always stepped close. Too close for comfort, the way some people place confidence in proximity. "No," Harlow said. "Not a dealer." "You sure? Guy's got vendor tags, stalls overturned, pockets full of—" A tremor of copper stung her nostrils. Blood, fresh but faint, like someone had dabbed a cloth then walked away. Harlow's fingers brushed the dead man's throat. Skin cold, pulseless. No cut. No clotted wound. The skin bore a shallow spiral, a line of pale raised scar tissue, as if someone had sewn a wound with sunlight. "Cause of death?" Davies asked. "Unknown," she said. "And I want that compass secured. It belongs in exhibits, not evidence." She pinched the edge where verdigris bloomed like mould. The face was etched with sigils that read better to a craftsman than to a copper. The needle shivered, then lay taut, pointing not at the platform's dark curve but toward the service tunnel, where tiles had been cleaned recently, grout bright and dry. Eva pushed past a table of scattered trinkets, satchel thumping her hip, fingers already tucking hair behind her left ear. She wore round glasses that caught the station fluorescents and split them into a constellation across her face. She crouched opposite Harlow, knees close, voice too quick with excitement to be comforting. "This is bad," she said. "These sigils are protective. Whoever owned the compass intended to find, not to be found." "Find what?" Davies folded his arms, boots scuffing dust. "Rifts. Portals. The compass points toward them," Eva said. "It's a Veil Compass. Old market piece, crafted by a Shade artisan. See the patina? Verdigris on brass, not fake." "Shade artisan?" Davies snorted. "Sounds like a perfume brand." "Not a joke," Eva said. "Shades are artisans from—" She swallowed, face tightening. "They're not exactly listed on business registries." Harlow inhaled. The odour beneath the copper, beneath the stale smoke and old meat, slid cold along her spine: ozone, like before a thunderstorm. She had smelled it the night DS Morris died. She had felt it in the car as they drove back to the station, arguing about footprints that led nowhere. She had woken with the sound of water dripping from a shut tap. The memory lodged like a pebble. "Where's the bone token?" she asked. Davies flicked through a vendor ledger. "No record. Token shelf's empty." He nodded toward a makeshift stall where fragments of bone lay wired into chains, each tag numbered. "Either the token's been sold off, or someone's been clever." "Bone tokens are entry keys," Eva said. "The Veil Market only opens to those who can produce them. You can't just walk in." "Unless you walk in from the other side," Harlow said. Davies glanced at her. "You mean like through a backdoor?" "Rift," she said. "Someone opened one." "Or someone smashed in." Davies craned his neck at the torn tarp that served as the market's outer wall. "There are signs of forced entry. Scrapes, a burst seam. Pretty classic." Harlow looked past them, at the rows of stalls — jars of quicksilver, a rack of old keys that glittered too cleanly, a heap of rag dolls with pins stuck through their faces, and the body at their feet. The man's eyes were open, pupils widened to black like holes in paper. He wore a vendor's badge threaded on a leather thong, but the badge was blank, the name sanded off. His pockets bulged with notes folded into origami shapes, each spine sealed with wax. She lifted one open with gloved fingers. A scrap of paper, hurried script, an address in a part of Camden that no longer existed on maps. A time. A name. "Meet me under the arch," she read aloud. "Two a.m. Bring token." "Someone set a meeting," Davies said. "Deal went sideways." "Or they were bait," Eva said. Her fidgeting hands found Harlow's watch, fingers grazing the strap like a child finding an old toy. "The sigils around his wrists are protective runes, but badly done. Like someone copied from a book without understanding the grammar." "Amateur ritualist," Davies supplied, with a smile that did not reach his eyes. "We bag a wannabe occultist, close the book, tick another one off." Harlow's gaze moved to the platform tiles. Someone had ground a pattern into them, a shallow groove the colour of ash. The groove began at the arch under which the meeting had been scheduled and sank toward the service tunnel. Near the far wall, tiles looked different, older, not part of the station's mosaic. They hummed under her palm like the skin over a glass bowl. "Step back," she told the cordon of officers. "All of you. Keep the market perimeter. No one past the blue line." "Why?" Davies snapped. "You're the one who says they're amateurs. Don't want us to ruin the scene." "Because amateurs make mistakes," she said. "And professionals exploit them." Two uniforms obeyed, backing away with the kind of reluctance that came from being hungry for closure. Eva remained, chin clenched, fingers worrying a lock of her red curls. "You remember Morris?" Harlow asked, not looking at her. Eva's mouth thinned. "I read his file." "Do you remember what the tile looked like at the old docks?" Harlow said. "The grout pattern. Not like this station. Pattern moves." "That was different," Eva said. "Sanskrit circles." "Different language, same throat," Harlow said. "Morris's diary mentioned rifts like doors wired to noise. He used the phrase 'folds of place.' He found one in a bus depot, right behind a broom cupboard. He wrote, 'It doesn't want me to look.'" Davies frowned. "You're speculating." She met his gaze and didn't flinch. "Find me the broom cupboard then. Check CCTV, check Seventeenth Avenue cameras. Someone pulled something out of here. Call forensics to run the tile for residues. And bag that compass. Carefully." He moved to comply, then stopped, eyebrows climbing. "You're asking us to believe a compass tells the truth." "It points," she corrected. "It points to the nearest rupture, or it tries. The sigils keep it honest. Whoever had it tonight knew where a rift lay. That's why they had it. That's why he died." "Maybe he used it to open a rent and fell through," Davies said. "Accident." "You said he was a dealer," Eva said. "Dealers don't 'fall through.' They disappear when they want to disappear." "Who sold it to him?" Davies asked. "Who set the meeting?" Harlow stood. Her boots crunched on something small and glassy. A vial had split, its contents dark and oily along the platform. She smelled it, a metallic tang that made the back of her throat clench. She dipped a gloved finger into the sheen. It warmed undesirably under her touch, like a living thing. "Acid?" Davies offered. "No," Eva murmured. "Not acid. Ether, but wrong. Mixed with something living. See these motes? Not dust. Ash from bone, but arranged. A recipe for binding." "You think this was planned, then," Davies said, and his voice dropped an octave. "Not an invite gone wrong." "I think someone wanted this body where it would be seen," Harlow said. "Someone wanted us to believe the market did it. They wanted our attention on the wrong thing." "Why?" Davies asked. "Because the real doorway is in the tiles." She knelt, traced the groove with a fingertip. "The compass pointed here but not to the outside. It points inward. Something under the station wants a list of names, or bartered goods, something that lives on being traded. If we look at the vendor list, who sold guaranteed entry, who had access to artisans like Shades, we'll find a pattern. Someone with market clout." "Like a ring leader," Davies said. "Like a clique," Eva said. "They run the booths. They pick who sees the north hall." "Then start with vendors who knew the compass maker," Harlow said. "Track sales, trace the bone tokens distribution. One of those tokens must be missing." She straightened and felt the weight of the watch on her wrist, a ballast against the uncanny. "Also contact the Market Liaison. If they silence you, lie. If they react, run." "That's dramatic," Davies said. "Needed," she replied. "And get a tile sample, now. Seal the platform." For a moment the station's noise paused, a held breath. Then a scuffing sound, slow and measured, came from the service tunnel. The compass needle twitched, the etched sigils catching the light with a flash. It pivoted, aligned, pointed not toward the tunnel but to Harlow's left, toward where her colleagues stood behind the cordon. The needle quivered like a bird hearing thunder. "Did you feel that?" Eva whispered. "Probably a subway train," Davies said. "Or pigeons. Pigeons with agendas." The scuffing became a scrape, then a soft, impossible voice like water over stone. Nobody moved. Then the tile nearest Harlow gave a small, patient sigh and slid inward as if answering an unseen hand. A thin seam opened between the platform and the darkness beyond. From it arose a sound like paper burning softly. The market had smelled ozone earlier; now it smelled like rain on iron and something old waking. A cold draft licked Harlow's wrist, and the hairs at the back of her neck prickled. "Move back!" she ordered, but her voice scratched thin. The seam widened, revealing a depth that played tricks on the eye, a blackness that did not absorb light so much as rearrange it. The compass needle snapped, spun and then stabbed the air, pointing at Harlow with an insistence that felt personal. Someone grabbed at the tile edge. A hand, not entirely human, pale and scaled with dust like old vellum, pushed up. It closed on the brass compass between Harlow and the seam. Fingers curled around the casing, and the needle hummed. The hand flexed, as if testing weight. The wrist bore the same spiral scar as the dead man's. "Shit," Davies said, and his voice was a paper shred. He lunged forward. Harlow's shoulder slammed into him before she could think. Training took over; she shoved him back with a force that sent him stumbling, saved him from whatever was reaching. The hand slipped, the compass tilted, and a low keening slid from within the seam, like a throat clearing across centuries. Eva screamed once, a sharp note cut off by a hand clamped across her mouth. The world contracted to the scrape of tiles, the metallic cry of the compass, and the wet sound of something pulling itself through a gap not meant to be crossed lightly. Harlow reached, fingers skimming the brass. The surface was warm, the sigils thrummed against her skin, and a sensation like static crawled up her arm. "Bag it!" she barked. An officer half-threw himself forward, plastic evidence bag open, fingers fumbling. The hand closed again, this time on empty air. The compass slid out like a fish escaping a net, landed on the tiles, and rolled to Harlow's boot. The needle stood dead center, pointing inward. From inside the seam came a voice that was many voices stacked, and it spoke a name, clear as a bell, something Harlow had not heard aloud in three years. She knew immediately it was a test, a lure, a memory bait. "Harlow Quinn," the seam said. She had not answered, when the seam exhaled and the darkness breathed closer, smelling of ledger dust and the far-off attic of the Veil Market. The officers around her froze, the tape between them fluttering. Someone cursed, low, and the sound snapped the spell into motion. The tile clapped down with a sound like a book closing. Blackness retreated, leaving a smear of rainwater and a faint outline like the shadow of a footprint. The compass lay at Harlow's boot, its needle still quivering, and the air tasted of bone dust and copper. "This is above my pay grade," Davies said. "No," Harlow said, not sure if she addressed him, the market, or herself. "This is a crime scene." The compass twitched once more, then stilled, pointing toward the stairwell, toward a corridor that the station planners had promised no longer existed. Through the chaos of uniforms and the flutter of paper tags, a small, plain card caught Harlow's eye where the dead man's hand had clutched it. On it, in cramped ink, was a single word. Welcome.
created_at"2026-02-19T04:01:23.009Z" 2/19/2026, 4:01:23 AM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency16244
moderation_latency(null)
generation_time73527
tokens_prompt4671
tokens_completion3914
native_tokens_prompt4157
native_tokens_completion4130
native_tokens_completion_images0
native_tokens_reasoning1216
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"
usage0.00843525
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_02ff1bcb79f83ace0169968b131d2c81968a670b21f910d17e"
is_byokfalse
latency150
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771473683-YpcnkUzfQ1cbdfgvMoId"
upstream_id"resp_02ff1bcb79f83ace0169968b131d2c81968a670b21f910d17e"
total_cost0.00843525
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
totalTags52
adverbTagCount1
adverbTags
0"she read aloud [aloud]"
dialogueSentences90
tagDensity0.578
leniency1
rawRatio0.019
effectiveRatio0.019
93.05% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2157
totalAiIsmAdverbs3
found
0
adverb"carefully"
count1
1
adverb"softly"
count1
2
adverb"lightly"
count1
highlights
0"carefully"
1"softly"
2"lightly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
69.87% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2157
totalAiIsms13
found
0
word"etched"
count2
1
word"comforting"
count1
2
word"flicked"
count1
3
word"mosaic"
count1
4
word"traced"
count1
5
word"weight"
count2
6
word"uncanny"
count1
7
word"silence"
count1
8
word"measured"
count1
9
word"aligned"
count1
10
word"quivered"
count1
highlights
0"etched"
1"comforting"
2"flicked"
3"mosaic"
4"traced"
5"weight"
6"uncanny"
7"silence"
8"measured"
9"aligned"
10"quivered"
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
emotionTells1
narrationSentences149
matches
0"k with excitement"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount0
narrationSentences149
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences187
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
totalWords2158
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions41
unquotedAttributions0
matches(empty)
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions67
wordCount1470
uniqueNames9
maxNameDensity1.84
worstName"Harlow"
maxWindowNameDensity4.5
worstWindowName"Davies"
discoveredNames
Cantonese1
Harlow27
Davies21
Eva13
Morris1
Camden1
Two1
Veil1
Market1
persons
0"Harlow"
1"Davies"
2"Eva"
3"Morris"
4"Market"
places(empty)
globalScore0.582
windowScore0.167
71.88% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences96
glossingSentenceCount3
matches
0"as if answering an unseen hand"
1"smelled like rain on iron and something ol"
2"as if testing weight"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.927
wordCount2158
matches
0"not at the platform's dark curve but toward the service tunnel"
1"not toward the tunnel but to Harlow's left, toward"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences187
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs77
mean28.03
std22.13
cv0.79
sampleLengths
05
172
234
36
411
557
65
768
852
920
109
1129
129
1320
1472
156
1638
1723
1810
1910
206
2131
2285
2330
2412
259
2644
2725
2866
2921
3017
3110
3229
339
347
3523
367
3742
384
3938
4018
4136
4214
4319
4411
4554
463
4726
4819
4930
98.20% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences149
matches
0"was etched"
1"been cleaned"
2"been scheduled"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs282
matches(empty)
81.74% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount2
flaggedSentences4
totalSentences187
ratio0.021
matches
0"The market's noise — murmured Cantonese, a tinny accordion, the distant drip of something metallic — folded around her but did not intrude."
1"Harlow looked past them, at the rows of stalls — jars of quicksilver, a rack of old keys that glittered too cleanly, a heap of rag dolls with pins stuck through their faces, and the body at their feet."
2"The market had smelled ozone earlier; now it smelled like rain on iron and something old waking."
3"Training took over; she shoved him back with a force that sent him stumbling, saved him from whatever was reaching."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1469
adjectiveStacks0
stackExamples(empty)
adverbCount45
adverbRatio0.03063308373042886
lyAdverbCount9
lyAdverbRatio0.006126616746085773
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences187
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences187
mean11.54
std8.16
cv0.707
sampleLengths
05
118
221
323
410
518
64
712
83
93
1011
117
1213
137
143
152
163
1722
185
193
2021
2116
2228
2320
2418
2514
265
2715
289
299
3020
314
325
335
348
357
362
3722
389
3920
4013
416
426
436
4422
4510
467
4716
4810
494
60.61% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats15
diversityRatio0.4117647058823529
totalSentences187
uniqueOpeners77
94.34% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences106
matches
0"Too close for comfort, the"
1"Then a scuffing sound, slow"
2"Then the tile nearest Harlow"
ratio0.028
99.25% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount32
totalSentences106
matches
0"Her left wrist, the worn"
1"She listened to the quiet"
2"He always stepped close."
3"She pinched the edge where"
4"She wore round glasses that"
5"She crouched opposite Harlow, knees"
6"She swallowed, face tightening"
7"She had smelled it the"
8"She had felt it in"
9"She had woken with the"
10"He nodded toward a makeshift"
11"He wore a vendor's badge"
12"His pockets bulged with notes"
13"She lifted one open with"
14"she read aloud"
15"Her fidgeting hands found Harlow's"
16"They hummed under her palm"
17"she told the cordon of"
18"She met his gaze and"
19"He moved to comply, then"
ratio0.302
11.89% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount95
totalSentences106
matches
0"The compass didn't point north."
1"Harlow crouched, palm poised over"
2"Her left wrist, the worn"
3"The market's noise — murmured"
4"She listened to the quiet"
5"Davies said, stepping close enough"
6"He always stepped close."
7"A tremor of copper stung"
8"Blood, fresh but faint, like"
9"Harlow's fingers brushed the dead"
10"Skin cold, pulseless."
11"The skin bore a shallow"
12"She pinched the edge where"
13"The face was etched with"
14"The needle shivered, then lay"
15"Eva pushed past a table"
16"She wore round glasses that"
17"She crouched opposite Harlow, knees"
18"Davies folded his arms, boots"
19"She swallowed, face tightening"
ratio0.896
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences106
matches(empty)
ratio0
60.89% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences61
technicalSentenceCount7
matches
0"She wore round glasses that caught the station fluorescents and split them into a constellation across her face."
1"Harlow looked past them, at the rows of stalls — jars of quicksilver, a rack of old keys that glittered too cleanly, a heap of rag dolls with pins stuck through…"
2"Two uniforms obeyed, backing away with the kind of reluctance that came from being hungry for closure."
3"She smelled it, a metallic tang that made the back of her throat clench."
4"Then the tile nearest Harlow gave a small, patient sigh and slid inward as if answering an unseen hand."
5"The seam widened, revealing a depth that played tricks on the eye, a blackness that did not absorb light so much as rearrange it."
6"From inside the seam came a voice that was many voices stacked, and it spoke a name, clear as a bell, something Harlow had not heard aloud in three years."
57.69% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags52
uselessAdditionCount7
matches
0"Davies folded, boots scuffing dust"
1"She swallowed, face tightening"
2"He nodded, each tag numbered"
3"Harlow asked, not looking at her"
4"she ordered, but her voice scratched thin"
5"Davies said, and his voice was a paper shred"
6"Harlow said, not sure if she addressed him, the market, or herself"
83.33% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags41
fancyCount6
fancyTags
0"Davies snapped (snap)"
1"she corrected (correct)"
2"Eva murmured (murmur)"
3"Eva whispered (whisper)"
4"she ordered (order)"
5"she barked (bark)"
dialogueSentences90
tagDensity0.456
leniency0.911
rawRatio0.146
effectiveRatio0.133
83.3129%