Run: 2026-02-19-01KHTX4W1D8WB66YZPNTZDYGZK

Run Details

Model:
GPT-5.1
Duration:
2m 3s
Cost:
$0.053535
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Thriller 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="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</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> <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> </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 thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. 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 suspect vaulted the crash barrier before I closed the gap. He hit the far side hard, stumbled, grabbed a parked scooter for balance, then sprinted between two honking cars. I cut left, boots sliding on the slick tarmac as I threaded through the traffic, sirens wailing somewhere behind us. Rain turned the street into a mirror of smeared red and blue, headlights bleeding into the puddles. Water hammered my face, plastered my shirt to my back, made my fingers slip on the Glock. I ran anyway, lungs burning, watch strap biting into my wrist with every stride. He glanced over his shoulder once, just enough for me to catch his face in the spill of a corner shop sign. Young. Eyes too wide, pupils blown. Either he felt terrified or he felt nothing at all. He shoved into a knot of tourists outside a kebab place, scattering paper bags and plastic forks. I hit the same knot a heartbeat later. "Police, move," I snapped. Bodies parted in a chaos of complaints and hot meat and cheap perfume. Someone swore at me in Spanish. Someone else held their phone up, filming. My shoulder clipped a man with a takeaway tray and sent chilli sauce across my coat. I barely noticed. Up ahead, the suspect darted across the pavement and jumped the metal gate of a narrow service alley. No hesitation, no glance at the "No Entry" sign. He vanished into the darkness like he already knew the route. Of course he did. I planted a hand on the wet gate, hauled myself over and dropped into the alley. The air changed at once. Colder, thicker, full of rot and something sour underneath. The kind of smell you found behind restaurants when the rubbish strike went on too long. My radio crackled against my shoulder, voice lost in static. "Control, this is Quinn. Foot pursuit, Camden High Street, suspect heading north behind the shops, male, mid-twenties, black hoodie, grey joggers, white trainers, possible connection to the Brewer Street body. Requesting units to cut off the other side." Static hissed. "Control, say again." Nothing. The alley walls climbed high on both sides, brick sweating water. The rain above became a distant roar. I swore under my breath and kept moving. Ahead, the suspect vaulted another gate and hit a set of stone steps that dropped away, steep and narrow. He almost slipped, caught himself on the rusted handrail, then vanished round a bend. Faded paint on the wall beside him read: CAMDEN ROAD STATION, with an arrow pointing down, the rest lost in graffiti. Camden Road had not been a station for a long time. For a second, the back of my neck prickled. Three years ago, a sign on a wall, a partner vanishing into a space that should not have existed, a smell like hot copper and burnt hair. I pushed the memory away and took the steps two at a time. Water poured down the stairwell in thin rivers. My soles skidded. I slowed just enough to keep my feet. The thunder of the city dulled with every step until it felt like I moved down inside someone's throat. At the bottom, a rusted metal shutter loomed, spray-painted with obscene cartoons and curses. A sliver of light leaked from a narrow gap at one side. The suspect squeezed through it. "Stop. Police." He did not stop. I lunged for the gap as his heel vanished from sight. The opening looked too small for me in full kit. I turned sideways and shoved my shoulder through, scraping the fabric of my coat on the jagged metal, feeling it bite skin. My holstered gun caught, jarred. I swore and twisted, forcing my way in. I spilled out on the other side into darkness. No. Not darkness. A corridor of bare concrete with a weak yellow strip light buzzing overhead. The suspect already ran at the far end, a black flare of movement. He slapped a hand against another metal door and it swung inward, light and noise flooding out so sudden my eyes flinched. And something else. Smell. Thick and layered. Incense and frying oil and damp stone. Human sweat. Animal musk. Herbs crushed underfoot. The faint sharp reek of blood. This was not an abandoned station access. You did not get that smell in disused tunnels. He disappeared through the door. I slowed. My pulse scratched in my throat. I pressed the radio again. "Control, Quinn. I am in underground access beneath Camden High, looks like an old Tube connection. Confirm if this location is on record." The radio spat white noise, like someone breathing sand. I checked my phone. No signal. Behind me, the gap in the shutter looked even smaller. The stairs curled up into darkness. Alone, then. No comms. No backup. The metal door at the end of the corridor stood half open. Warm light spilled out, orange and flickering. Voices surged and fell beyond, a crowded low roar, like a market at closing time. Brewer Street's victim on a slab flashed behind my eyes. The symbols carved into his chest. The bone dust under his nails. The stink of candle wax and river mud and something old. I tightened my grip on the Glock and walked for the door. A shape blocked it before I reached it. Tall. Broad. Head and shoulders filling the frame. A man in a long dark coat, collar turned up, shaved skull gleaming in the light. He planted a boot across the threshold. "Token." His voice rasped. Not aggressive, not questioning. Just flat fact. I stopped three paces back. "Detective Harlow Quinn, Metropolitan Police," I said. "Pursuing a suspect through here. Step aside." "Token," he said again. His eyes showed no curiosity. Just boredom, tinted with the kind of patience you only got from people used to blood on the floor. My badge lay in my inside pocket, leather soft with years of use. I took it out and flipped it open with my thumb. "Met Police, like I said. You can argue procedure with Professional Standards if you like. Or you can move your foot." He did not look down. "Bone token," he said. "No token, no entry. Your law stops at the shutter." He smiled then, small and humourless. "Detective." The word sat wrong in his mouth. Like it did not belong in the same vocabulary. Something moved behind him, glimpsed through the crack of doorway. Colour, motion, shadows. My heart thudded, slow and heavy. The smart choice sat clear. Secure the access point, wait for backup, call Firearms, cordon the street. Treat it like any other possible lair. Do it by the book. The book also said you did not break pursuit of an armed suspect who had already put one body on the table. Not when you were one glass door away. For a heartbeat, another stairwell rolled through me. Different place, different smell, DS Morris vanishing through smoke that slithered like liquid. Me hesitating. A scream cut short. I felt the hesitation now too. Old, lodged in scar tissue. The man watched my eyes. "You walk in without a token," he said, "you do not walk out." "That a threat?" "That is a rule." Something clicked behind him. A softer voice cut through the roar. "She is with me." A small white object arced through the air and clinked on the concrete at my feet. I glanced down. A button-sized disc lay there, pale and matte. It looked like carved bone. Someone had incised a symbol into the face, a spiral of notches that made my vision wobble if I stared too long. The bald man bent with controlled slowness, picked up the disc and weighed it in thick fingers. He did not look at me. He turned it once, as if confirming some private truth, then stepped aside. His coat brushed the doorframe. "On his head," he said. "If you make trouble, it is his debt." I slid my badge away, holstered the Glock, and picked up the disc. It felt too warm. Like someone else's mouth had held it minutes before. Beyond the doorway, the man who had spoken leaned against a red metal pillar and watched me come in. He had olive skin, damp curls stuck to his forehead, a day-old shadow on his jaw. A white T-shirt clung to a wiry chest, spattered with what might have been paint and might have been blood. A Saint Christopher medallion hung at his throat, glinting in the light. His left forearm carried a pale rope of scar. Warm brown eyes took me in, fast, from boots to cropped hair to watch. "You definitely do not belong here," he said. His accent carried Spain in the edges, softened by London grime. "That mutual," I said. "Name." He smiled without showing teeth. "Doctor," he said. "More or less." The room behind him hit me in layered impressions. Stalls. Dozens of them. Tables, tarpaulins, crates stacked high. Strings of bare bulbs hung low, interspersed with paper lanterns that bled red and green colour. People moved in dense loops, their voices knitted into a constant murmur threaded with laughter, argument, bargaining. Smell hit harder now. Herbs, fried dough, old stone, metallic tang. On the nearest stall, jars glimmered in rows. Some held dried roots. Some held liquids in shades of violet and orange. One held something that looked suspiciously like a human hand, shrunk and wrinkled. A woman shuffled past me with a cage of rats. Their eyes glowed like embers. Or caught the light badly. I decided it was the light. The suspect was not immediately visible. The man with the medallion sighed. "You chase that boy in here," he said, "you will not find what you expect." "I expect an arrest," I said. "And I just cut my coat on your bloody door." He glanced at the rip, at the damp patch of chilli sauce on my shoulder, and shook his head. "You police," he said. "Always walking into churches with your shoes on." "Not a church." "Depends who you ask." I scanned the crowd. Faces blurred past. A pale man with eyes like chipped glass. A child whose pupils ran vertical. A woman whose hair moved as if underwater. Drugs, contact lenses, costumes. Camden never ran short on theatrics. My brain clung to that explanation because the alternative sat too near to old case files that had never officially existed. The suspect flashed in the corner of my vision, a familiar black hoodie threading between two stalls stacked with tarnished silver. He headed deeper, toward the far curve of the tunnel where the light dimmed and smoke bunched low. I stepped round the doctor. "Stay out of my way." "I advise the opposite." His hand brushed my elbow. Gentle, but my muscles tensed hard. Reflex. I pulled my arm clear, gave him a look that stopped most people. He lifted his hands. "Vale. Go. But when it goes wrong, remember, I tried to help." "Noted." I moved. The floor changed from concrete to cracked old tiles, white squares stained grey and brown. My boots left wet prints. Stalls on either side spilled over with things that should not have been on any street in my jurisdiction. Bones tied with coloured string. Feathers that caught the air with no apparent source. Knives with blades too dark to reflect anything. A jar full of teeth. A row of masks whose painted eyes tracked me. Someone hissed at me as I brushed a curtain of beads. The beads sparked against my sleeve with a tiny fizz. Static, I told myself. The crowd flowed round me, indifferent and yet aware. I kept the Glock low against my thigh, coat pulled forward to shield it. The suspect's hoodie bobbed ahead, a shark fin in human water. He did not look back now. Either he trusted his ground, or he felt too focused on whatever waited at the far end. He slipped behind a stall where an old woman in a faded floral dress arranged cards on a cloth. They were not any deck I recognised. Bone slivers inscribed with lines. I cut round the other side and saw him drop down a short set of steps into a recessed section of tunnel. The space there felt wrong from twenty paces away, like the air turned thicker. Nine circles of chalk covered the floor in front of the steps, nested and tangled, each one daubed with markings that twisted when I tried to read them. Candles stood at intersecting points, little flames steady in air that should have gusted with the passing bodies. The suspect pushed a small package across the chalk to a man in a grey suit sitting cross-legged on the far side. The suited man's face stayed calm, expressionless, like he sat at a boardroom table instead of in a pit surrounded by symbols that made my skin crawl. My radio crackled once at my shoulder, an empty burst. I took the steps down, gun rising. "Metropolitan Police," I called. "Hands where I can see them." Everything stopped. Sound thinned. The market's roar pulled back as if someone had closed a door. I felt eyes on me from every direction. The suspect's shoulders stiffened. He began to turn, slow and reluctant. The man in the suit looked at my gun, then at my face. "You bring that thing in here," he said, voice mild, "and you wonder why nothing works." He reached toward the package. "Leave it," I snapped. His fingers froze a hair's breadth from the brown paper. The doctor with the medallion appeared at the top of the steps. His breath came a little fast, chest lifting under the shirt. "Detective," he said. "You do not want to do this." "I am done with men telling me what I want." Something moved at my boots. I glanced down. The nearest chalk circle had begun to blur, lines softening as if they melted into the stone. The candle flames at its edge stretched sideways, bending toward my feet. "Out of the sigils," the doctor said. "Now." The suspect took the opportunity. He darted back, slammed his shoulder into me. I staggered sideways. My heel scuffed across one of the chalk lines, crushing it, breaking the clean loop. The air dropped ten degrees. Every hair on my arms lifted. A sound rose from the floor. Low at first, like wind in a drain, then building, shrill, scraping the inside of my skull. The candle flames flared black before they went out together. Cracks spidered from the broken chalk line across the tiles. Shadows pooled in the gaps, too thick, too slow. Someone screamed behind me. Not in panic. In warning. I tried to pull my foot back. The tiles under my sole writhed. The shadow surged up from the floor in a column, tall and twisting, as if someone had poured ink and found it refused to settle. It smelled of river mud and metal and the air before a storm. The Glock felt small in my hands. Around us, the market erupted, stalls slamming shut, people running, shapes slithering away into cracks I had not seen before. The roar of bodies hit, high and jagged. Something cold and sharp pressed against my ribs, right under the edge of my ballistic vest. A hand fisted in the back of my coat, pulling me still. "Drop the gun, detective," a voice breathed against my ear, calm and close. "Or they will eat you first."
created_at"2026-02-19T12:14:11.509Z" 2/19/2026, 12:14:11 PM
model"openai/gpt-5.1-20251113"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency6399
moderation_latency(null)
generation_time122528
tokens_prompt4663
tokens_completion4645
native_tokens_prompt4132
native_tokens_completion4837
native_tokens_completion_images0
native_tokens_reasoning1550
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"
usage0.053535
router(null)
provider_responses
0
endpoint_id"764eb97f-8bab-4326-b29b-7a8799b00a70"
id"resp_0a9729fb64c4187b016996fe9394748195a95eb5efbfdff5ef"
is_byokfalse
latency178
model_permaslug"openai/gpt-5.1-20251113"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771503251-g2wgg5a9tLveHZkDvGMQ"
upstream_id"resp_0a9729fb64c4187b016996fe9394748195a95eb5efbfdff5ef"
total_cost0.053535
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
totalTags18
adverbTagCount1
adverbTags
0"he said again [again]"
dialogueSentences47
tagDensity0.383
leniency0.766
rawRatio0.056
effectiveRatio0.043
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2600
totalAiIsmAdverbs0
found(empty)
highlights(empty)
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
88.46% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2600
totalAiIsms6
found
0
word"loomed"
count1
1
word"pulse"
count1
2
word"gleaming"
count1
3
word"glinting"
count1
4
word"scanned"
count1
5
word"familiar"
count1
highlights
0"loomed"
1"pulse"
2"gleaming"
3"glinting"
4"scanned"
5"familiar"
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
narrationSentences262
matches
0"felt terrified"
1"t in panic"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences262
filterMatches(empty)
hedgeMatches
0"tried to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences290
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen39
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2595
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions24
unquotedAttributions1
matches
0"Static, I told myself."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions15
wordCount2310
uniqueNames11
maxNameDensity0.22
worstName"Glock"
maxWindowNameDensity0.5
worstWindowName"Glock"
discoveredNames
Glock5
Bodies1
Spanish1
Road1
Street1
Firearms1
Morris1
Saint1
Christopher1
Spain1
London1
persons
0"Glock"
1"Bodies"
2"Morris"
3"Saint"
4"Christopher"
places
0"Spanish"
1"Road"
2"Street"
3"Spain"
4"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences165
glossingSentenceCount2
matches
0"felt like I moved down inside someone's"
1"as if confirming some private truth, then stepped aside"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2595
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences290
matches
0"steps that dropped"
1"get that smell"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs148
mean17.53
std14.32
cv0.817
sampleLengths
011
139
248
355
48
54
645
738
84
946
1010
1138
122
133
1419
158
1654
1711
1836
1913
2038
2131
222
234
2456
259
261
272
2848
2927
3016
315
322
3311
3423
359
366
3722
3834
3933
4012
418
4224
437
441
4510
465
4714
484
4924
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences262
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs402
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences290
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2314
adjectiveStacks1
stackExamples
0"sharp pressed against my"
adverbCount64
adverbRatio0.027657735522904063
lyAdverbCount6
lyAdverbRatio0.0025929127052722557
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences290
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences290
mean8.95
std6.11
cv0.683
sampleLengths
011
119
220
317
417
514
622
71
85
910
1017
118
124
1313
146
157
1616
173
1818
199
2011
214
2216
235
249
2516
2610
2738
282
293
301
3111
327
338
3419
3514
3621
3711
389
3927
4013
418
423
438
4419
4514
4612
475
482
494
56.21% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats17
diversityRatio0.3724137931034483
totalSentences290
uniqueOpeners108
44.25% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences226
matches
0"Of course he did."
1"Just flat fact."
2"Just boredom, tinted with the"
ratio0.013
76.64% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount81
totalSentences226
matches
0"He hit the far side"
1"I cut left, boots sliding"
2"I ran anyway, lungs burning,"
3"He glanced over his shoulder"
4"He shoved into a knot"
5"I hit the same knot"
6"My shoulder clipped a man"
7"I barely noticed."
8"He vanished into the darkness"
9"I planted a hand on"
10"My radio crackled against my"
11"I swore under my breath"
12"He almost slipped, caught himself"
13"I pushed the memory away"
14"My soles skidded."
15"I slowed just enough to"
16"He did not stop."
17"I lunged for the gap"
18"I turned sideways and shoved"
19"My holstered gun caught, jarred."
ratio0.358
48.50% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount186
totalSentences226
matches
0"The suspect vaulted the crash"
1"He hit the far side"
2"I cut left, boots sliding"
3"Water hammered my face, plastered"
4"I ran anyway, lungs burning,"
5"He glanced over his shoulder"
6"Eyes too wide, pupils blown."
7"He shoved into a knot"
8"I hit the same knot"
9"Bodies parted in a chaos"
10"Someone swore at me in"
11"Someone else held their phone"
12"My shoulder clipped a man"
13"I barely noticed."
14"He vanished into the darkness"
15"I planted a hand on"
16"The air changed at once."
17"The kind of smell you"
18"My radio crackled against my"
19"The alley walls climbed high"
ratio0.823
44.25% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences226
matches
0"Either he felt terrified or"
1"Either he trusted his ground,"
ratio0.009
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences97
technicalSentenceCount4
matches
0"Strings of bare bulbs hung low, interspersed with paper lanterns that bled red and green colour."
1"I pulled my arm clear, gave him a look that stopped most people."
2"Candles stood at intersecting points, little flames steady in air that should have gusted with the passing bodies."
3"The suited man's face stayed calm, expressionless, like he sat at a boardroom table instead of in a pit surrounded by symbols that made my skin crawl."
97.22% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags18
uselessAdditionCount1
matches
0"he said, voice mild,"
86.17% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags18
fancyCount3
fancyTags
0"I snapped (snap)"
1"I snapped (snap)"
2"a voice breathed (breathe)"
dialogueSentences47
tagDensity0.383
leniency0.766
rawRatio0.167
effectiveRatio0.128
91.1896%