Run: 2026-02-19-01KHTX1T9RBK3YZFKEDG1KR016

Run Details

Duration:
42.0s
Cost:
$0.010133
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction 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="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</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 literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. 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 tray slipped out of her hands before she could think to catch it. The whispers of fried spring onion and soy unspooled into the air, cartons colliding, rice blooming across the bar like a poor man's confetti. "Rory," a voice said, steady as a metronome, and a pale hand closed around the falling tray as if it had been waiting for that exact moment. She looked up. Silas Blackwood stood behind the bar, sleeves rolled, his signet ring catching the green neon's sickly light. He had the same neat beard, the same hawk's carriage, but the hair at his temples had gone unkindly grey and his left leg betrayed him with a slow, deliberate shuffle when he shifted his weight. He studied the ruined cartons without surprise, as if he had been expecting this small catastrophe all along. "That's not how you deliver to a bar," he said. "Delivery's the technical term," she offered, and handed him the rest of the tray like a defeated diplomat. The bar smelled of old wood and lemon polish and the metallic tang of a hundred conversations that had come and gone. Photographs in black and white watched them with a private, sour amusement. Silas set the tray on the counter with care. His eyes were hazel, patient, the sort that catalogued things that others missed: the crescent scar on her left wrist, faint as a punctuation mark; the scuffed trainers; the way her jaw tightened when she thought about speaking. "You've changed," he said. The words were not accusation. They folded like an old map across a table. "So have you," she replied. Silas made a small sound that might have been a laugh. "Everyone changes. Some of us have better excuses." He tilted his head toward the photograph behind him, a grainy image of men in coats, a younger Silas with the same face, less of the weight of years. "You used to be impossible to miss." "I practised being smaller," she said. The sentence landed like a coin on the bar. "Worked well for a while." Silas's hand brushed the photograph. The motion was gentle, like dusting a grave. "You took my advice and made yourself scarce," he said. "Brendan would approve." Her lips thinned. "Don't bring him into this." He didn't press. Instead he reached beneath the counter and produced two cheap glasses, one for water, one for the sake of ritual. He kept the glass between them as if it were a prop in a play they'd abandoned years ago. "How long—" she began. "Too long." He answered before she finished asking. "You left Cardiff in a hurry. I heard rumours. Then nothing. Until tonight, when the universe decided we needed an awkward reunion over spilled rice." She studied him. The bar had always been his territory, the soft empire he'd carved out of Soho. Now it seemed smaller, intimate in a way that let you see every crease and scar. He still wore the silver signet ring on his right hand, a stubborn ornament that seemed to anchor him. The limp slowed him but did not mar his dignity. There was a precision to him, an old operative's habit of noticing how light fell across a table, how a person avoided looking at their left wrist. "You knew I was in London," she said finally. "I knew someone matching your general demographic had been coming in and out of the Golden Empress for deliveries," Silas said, his voice warm but precise. "Names are slippery though. I thought perhaps you were someone else." "It was me," she said. "I work there part-time." He let that sit between them. "So you were living above my bar the entire time and chose not to knock." She shrugged. "Privacy is expensive. So is pride." Silas smiled without humour. "Pride costs lives sometimes." Silence thickened. Rory set her palms on the counter. The scar on her wrist flashed when she moved, a pale crescent like a closed eye. "You look younger," she said, because she needed to say something that wasn't a question. "That's the lighting," he said. "And better posture. You've done well with your hair." He reached for nothing and pressed a napkin toward her as if to tidy an invisible spill. She wanted to laugh and couldn't. "You always were good at buying people compliments." "You used to be better at taking them." The bar door jingled; a few patrons glanced up, then returned to their drinks. The Raven's Nest breathed around them, a living thing of wood and old maps. The hidden bookshelf door at the back leaned impartial and unread. "I thought you didn't like being noticed," Silas said softly. "Sometimes being invisible is the point," she said. "Sometimes it's protection." His eyes sharpened. The metronome voice ticked into a different gear. "Protection from what, exactly?" She swallowed. "From people who think they can own you." Silas did not flinch. "Evan," he said. It came out like a stone. Rory's hand went to her wrist before she could stop it. The crescent scar warmed under her palm. "You know him," she whispered. "I used to know a collection of names," he said. "Evan Sutherland rang a bell when your courier at the Golden Empress mentioned an encounter in Camberwell. Small world, Rory." "Small is a charity word." Silas folded his hands. "I am going to be blunt. I have a habit of hearing things. I also have friends who will not tolerate loose ends. If someone has been following you, or worse, if someone has been placing you in the wrong kind of trouble, I would prefer to know sooner rather than later." She looked at him then, really looked, and for the first time since she had walked in, something opened in her chest like a shutter. She felt the years arrange themselves behind her like baggage. "Why would you care?" she asked. He considered the question as if it were a chess move. "Because once, you saved my favourite pen from a puddle. You are stubborn in small, admirable ways. Because Brendan used to send me letters with more ink than sense and because sometimes the world offers chances to mend things that have gone wrong. And because I recognise the exact tilt of someone who is trying to outrun themselves." She let out a sound that might have been a snort. "That's very Sir Thomas More of you." "I am not Saint Thomas," he said. "I am tired, and I hold grudges better than I forgive. Both are useful." Words went around them like smoke. She thought of Cardiff, of the house on a narrow street, her mother weighing in lessons and grammar. She thought of the courtroom mock trials and the quiet relief of copying legalese. She had traded all that for late shifts and takeout containers, and that felt both ridiculous and necessary. "Was I wrong leaving?" she asked finally. The question surprised her by how small it sounded. Silas set his palm on the bar, close to hers, but not touching. "Wrong is the wrong word. It made noise. It made you visible in ways that were both dangerous and freeing. You were safer in calculation, and safer does not always mean living." Her laugh this time was soft and empty. "You're fond of paradox." "It comes with the territory." His hand found a cigarette case and closed around it, though he did not light one. "Rory, tell me if he's been texting. Tell me if anyone's been paying too much attention." She shook her head. "No." "You're lying." The accusation was not cruel. It was clinical. It made her chest ache. "Maybe I lied to myself," she admitted. "Maybe I convinced myself that the footsteps were just the building settling." Silas studied her. "Do you want help?" She had thought about that question as a practical exercise on sleepless nights. Help felt like a thin reed offered in a river. She would either grab it and try to swim or let it float by and drown. "I don't know," she said. "What would help look like coming from you?" "A few questions," he said. "A plan if you wanted one. An offer to keep someone watching and a promise that if things escalated I would not let them go unpunished." "That sounds expensive." "Some things are not priced in money," he said. "If there's anything you want me to know, say it. If there's anything you want kept out of sight, let me keep it. Or let me be wrong. Either way, don't be alone if you can avoid it." Her throat tightened. She had been alone for so long that the idea of company felt like an exposure. She thought of Evan's laugh, the way he had pinned her between charm and control, and how she had learned to disassemble herself into acceptable pieces. "Why do you care so much about me?" she asked again, softer, the question folded under everything else. "Because I have failed to protect people I was supposed to protect," he said. "Because I have watched people walk away and then found regrets waiting like unpaid bills. Because sometimes the things you regret most are the people you thought would survive anything. Because you are young and infuriating and you remind me of better things." Her breath hitched. For a second she let herself be small and tired and human. Then the bar's back door banged open. "Silas, you in here?" The voice was rough, not unfamiliar—a delivery driver, or a pensioner, or someone who had simply been hoarse all their life. It carried the wrong cadence, like a footnote in an otherwise coherent sentence. Silas tensed. His hand moved to the shelf beneath the counter, fingers grazing the wood as if counting distances. The metronome beat sped a half-step. "Beatrice?" he asked, keeping his voice steady. "No," the voice said. "This is Jackson. Got a package for you. Says 'urgent.'" A courier's manner. The bar's light caught the doorway and threw long, accusing shadows across the floor. Silas's eyes met Rory's. For a moment, neither spoke. The air changed as if someone had flicked a switch. "Tell him to leave it on the step," Silas said. The voice on the other end of the door laughed, a short, humourless sound. "He said you told him to deliver to the back. Said you'd be in the secret room, the one with the bookshelf." Silas's fingers closed until the wood creaked. Rory had a flash of memory, absurd and bright: a bookshelf that moved like a mouth, a warmth behind wood. She had seen it on an older visit, before the years had pressed their weight between them. "Please," Silas said, every syllable sharpened, "tell him I'm not here." The laugh at the door hardened. "He doesn't like leaving things outside, mate. Boss says don't be doing weirdness. He says if you're not in, he takes it back." Silas's jaw worked. He didn't reply. Instead, he moved, not fast but with decision, and slid the small brass key from his pocket. He tucked it into his palm like a currency, an old habit of a man who kept options. Rory's heart hammered in a rhythm she hadn't heard since running through streets with someone chasing her. She thought of Evan's possessive whittling of freedom. She thought of the scar that glinted like an accusation. Silas pulled the hidden bookshelf aside, the mechanism whispering like an animal. The doorway yawned dark and familiar. "Stay here," he said. She opened her mouth to refuse and closed it. The bar smelled of lemon and dust and the small treacheries that come with hospitality. Behind the bookshelf, the secret room waited, its edges like a held breath. The courier pushed the door half-open. A tall figure filled the doorway, not a delivery man at all but a silhouette with a cap shadowing his face. He held a thin envelope like a threat made paper. "Is Silas here?" he asked. Silas stepped forward. "He's in the back." The silhouette smiled. It did not reach the eyes. "He always is," the man said. The envelope changed hands with a practised flick. Silas took it, his fingers steady now but his face drained of something soft and human. He broke the seal with a thumb that trembled just enough to be noticed. Inside lay a photograph. Black and white, glossy, with a white margin like an old advertisement. Someone had cropped it carefully. The image showed a woman with straight shoulder-length black hair, bright blue eyes that caught the light just so, and a half-closed smile that might once have been trust. Someone had written a name on the back. Silas's mouth made a line. "Well," the courier said, voice casual, "if you want to come chat, my boss says he's been waiting a long time." Silas did not answer. He slipped the photograph into his pocket, the ring on his hand catching the green light like an accusation. Rory could feel the hairs on her arms lift. He had his hand on the key. His other hand reached for hers, not in help, but in a brief, old-fashioned promise. "Hide," he said. She moved before she thought. They were both at the bookshelf before the sentinel voice at the door could change its mind. The wood gave way, the secret room swallowing them whole. The noise of the bar dulled into an oceanic hush. The courier's voice drifted faint through the wood, like bad news through a bad radio. "Tell Silas the boss misses him," it said. "Told him to come alone." Silas's breath fogged in the dimness. He clicked the lock into place. Rory slid down against the faded wallpaper until she sat on the floor. The crescent scar on her wrist felt hot and absurdly alive. The photograph in his pocket weighed like a verdict. "Who was that?" she asked. He did not meet her eyes. "Someone who remembers names." The hidden room smelled of paper and old perfume and secrets that had been kept too long. A bookshelf closed over them with the soft certainty of a trapdoor. Outside, the Raven's Nest thrummed, small and unknowing. Inside, the past had arrived with a courier's knock. The photograph burned in Silas's pocket like a live thing. He drew a breath. "We are no longer choosing safe," he said. A soft click came from the lock, a sound like a metronome that had always been counting down.
created_at"2026-02-19T12:12:31.573Z" 2/19/2026, 12:12:31 PM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency7761
moderation_latency(null)
generation_time41668
tokens_prompt4618
tokens_completion4309
native_tokens_prompt4131
native_tokens_completion4550
native_tokens_completion_images0
native_tokens_reasoning1472
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.01013275
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_02fcb6bff5b7a27b016996fe2fc6148196a1c9c44c38735b5b"
is_byokfalse
latency219
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771503151-xOrx7xnJnj5KPa98TosW"
upstream_id"resp_02fcb6bff5b7a27b016996fe2fc6148196a1c9c44c38735b5b"
total_cost0.01013275
cache_discount(null)
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
totalTags43
adverbTagCount4
adverbTags
0"she said finally [finally]"
1"Silas said softly [softly]"
2"she asked finally [finally]"
3"she asked again [again]"
dialogueSentences83
tagDensity0.518
leniency1
rawRatio0.093
effectiveRatio0.093
91.78% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2433
totalAiIsmAdverbs4
found
0
adverb"softly"
count1
1
adverb"really"
count1
2
adverb"very"
count1
3
adverb"carefully"
count1
highlights
0"softly"
1"really"
2"very"
3"carefully"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
71.23% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2433
totalAiIsms14
found
0
word"weight"
count3
1
word"grave"
count1
2
word"silence"
count1
3
word"encounter"
count1
4
word"footsteps"
count1
5
word"charm"
count1
6
word"flicked"
count1
7
word"warmth"
count1
8
word"familiar"
count1
9
word"trembled"
count1
10
word"could feel"
count1
11
word"sentinel"
count1
highlights
0"weight"
1"grave"
2"silence"
3"encounter"
4"footsteps"
5"charm"
6"flicked"
7"warmth"
8"familiar"
9"trembled"
10"could feel"
11"sentinel"
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
emotionTells0
narrationSentences177
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences177
filterMatches
0"see"
hedgeMatches
0"seemed to"
1"try to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences216
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen58
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2426
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions50
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions42
wordCount1671
uniqueNames9
maxNameDensity1.5
worstName"Silas"
maxWindowNameDensity3
worstWindowName"Silas"
discoveredNames
Blackwood1
Silas25
Soho1
Raven2
Nest2
Words1
Cardiff1
Evan2
Rory7
persons
0"Blackwood"
1"Silas"
2"Raven"
3"Nest"
4"Words"
5"Evan"
6"Rory"
places
0"Soho"
1"Cardiff"
globalScore0.752
windowScore0.667
36.36% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences110
glossingSentenceCount5
matches
0"seemed smaller intimate in a way that let you see every crease and scar"
1"ornament that seemed to anchor him"
2"felt like a thin reed offered in a rive"
3"felt like an exposure"
4"as if counting distances"
76.34% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords1.237
wordCount2426
matches
0"not fast but with decision"
1"not a delivery man at all but a silhouette with a cap shadowing his face"
2"not in help, but in a brief, old-fashioned promise"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences216
matches
0"let that sit"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs101
mean24.02
std17.99
cv0.749
sampleLengths
038
127
274
310
452
547
64
714
85
955
1020
1126
128
1342
144
1533
1690
179
1837
199
2021
218
228
2325
2415
2531
2614
278
2839
2910
3011
3115
3210
337
3424
355
3630
375
3856
3935
406
4169
4218
4321
4456
4516
4645
4712
4837
495
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences177
matches
0"been kept"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs305
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount3
flaggedSentences3
totalSentences216
ratio0.014
matches
0"His eyes were hazel, patient, the sort that catalogued things that others missed: the crescent scar on her left wrist, faint as a punctuation mark; the scuffed trainers; the way her jaw tightened when she thought about speaking."
1"The bar door jingled; a few patrons glanced up, then returned to their drinks."
2"\"Silas, you in here?\" The voice was rough, not unfamiliar—a delivery driver, or a pensioner, or someone who had simply been hoarse all their life."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1677
adjectiveStacks1
stackExamples
0"brief, old-fashioned promise."
adverbCount38
adverbRatio0.022659511031604056
lyAdverbCount10
lyAdverbRatio0.005963029218843173
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences216
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences216
mean11.23
std8.82
cv0.785
sampleLengths
014
124
227
33
417
536
618
710
818
922
1012
119
1238
134
145
159
165
1711
1837
197
206
219
225
235
248
2510
263
273
285
293
3020
3119
324
338
3425
353
3615
3716
3819
3910
4027
419
4226
4311
445
454
466
4715
482
496
41.36% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats19
diversityRatio0.30092592592592593
totalSentences216
uniqueOpeners65
68.03% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences147
matches
0"Instead he reached beneath the"
1"Then the bar's back door"
2"Instead, he moved, not fast"
ratio0.02
56.73% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount60
totalSentences147
matches
0"She looked up."
1"He had the same neat"
2"He studied the ruined cartons"
3"she offered, and handed him"
4"His eyes were hazel, patient,"
5"They folded like an old"
6"He tilted his head toward"
7"Her lips thinned."
8"He didn't press."
9"He kept the glass between"
10"He answered before she finished"
11"She studied him."
12"He still wore the silver"
13"she said finally"
14"He let that sit between"
15"she said, because she needed"
16"He reached for nothing and"
17"She wanted to laugh and"
18"His eyes sharpened."
19"It came out like a"
ratio0.408
0.82% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount135
totalSentences147
matches
0"The tray slipped out of"
1"The whispers of fried spring"
2"a voice said, steady as"
3"She looked up."
4"Silas Blackwood stood behind the"
5"He had the same neat"
6"He studied the ruined cartons"
7"she offered, and handed him"
8"The bar smelled of old"
9"Photographs in black and white"
10"Silas set the tray on"
11"His eyes were hazel, patient,"
12"The words were not accusation."
13"They folded like an old"
14"Silas made a small sound"
15"He tilted his head toward"
16"The sentence landed like a"
17"Silas's hand brushed the photograph."
18"The motion was gentle, like"
19"Her lips thinned."
ratio0.918
34.01% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences147
matches
0"Now it seemed smaller, intimate"
ratio0.007
57.57% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences67
technicalSentenceCount8
matches
0"He studied the ruined cartons without surprise, as if he had been expecting this small catastrophe all along."
1"His eyes were hazel, patient, the sort that catalogued things that others missed: the crescent scar on her left wrist, faint as a punctuation mark; the scuffed …"
2"He kept the glass between them as if it were a prop in a play they'd abandoned years ago."
3"He considered the question as if it were a chess move."
4"His hand moved to the shelf beneath the counter, fingers grazing the wood as if counting distances."
5"Rory had a flash of memory, absurd and bright: a bookshelf that moved like a mouth, a warmth behind wood."
6"He tucked it into his palm like a currency, an old habit of a man who kept options."
7"The image showed a woman with straight shoulder-length black hair, bright blue eyes that caught the light just so, and a half-closed smile that might once have …"
90.12% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags43
uselessAdditionCount3
matches
0"Silas said, his voice warm but precise"
1"Silas said, every syllable sharpened,"
2"the courier said, voice casual,"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags38
fancyCount2
fancyTags
0"she whispered (whisper)"
1"she admitted (admit)"
dialogueSentences83
tagDensity0.458
leniency0.916
rawRatio0.053
effectiveRatio0.048
82.8338%