Run: 2026-02-19-01KHTX7TDFQKWHEC8B48ND032X

Run Details

Model:
GPT-5.2
Duration:
1m 11s
Cost:
$0.050792
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Horror 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> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> </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 horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Aurora shoved her shoulder between two ancient oak standing stones and the world pinched tight around her ribs. The silver chain bit into the back of her neck as the Heartstone pendant swung forward. It struck her sternum with a dull tap, then pulsed warm, warm, warmer, like it had found the artery it had spent days sniffing for. She planted her trainer on the soft earth inside the boundary and pulled the rest of herself through, palm flat against the nearest stone. The surface moved under her touch. Not with any obvious shift, no wobble like a loose gravestone, but with the slow, live give of cartilage. She snatched her hand back and the crescent scar on her left wrist flashed pale against the dark. “No.” Her voice came out clipped. “You don’t get to be soft.” The stone stayed stone. Her skin still remembered the give. She stood in the clearing and listened. Wildflowers filled the space where grass should have grown. Their colours held a stubborn richness, as if paint had never dried on them, and their perfume pressed into the back of her throat. Sweet at first, then metallic. The smell didn’t belong to plants. It carried the sting of a coin held too long between teeth. Rory pulled her phone from her jacket pocket and checked the screen. No signal, of course. Richmond Park played dead out here on a good day, and this place made a habit of swallowing anything that tried to speak to the wider world. She pocketed the phone, then reached for the Heartstone. The deep crimson gem glowed with a faint inner light, a small, steady ember. The warmth spread into her fingertips. “So you’re certain,” she muttered. “You’re not just being dramatic.” The pendant answered with another pulse. It didn’t heat like metal near a radiator. It warmed like blood. Rory took two steps forward. The flowers parted around her shins with the precision of a crowd making space for someone important. The movement stayed too coordinated for a breeze. She watched the stems bend and recover, bend and recover, all in the same beat. She lifted her foot and set it down again, slower this time. The flowers matched her pace. They did not brush her calves. They avoided contact. Her delivery bag hung empty at her hip, habit more than purpose. A part of her still expected a hot paper sack to leak grease through the bottom, to smell like chilli oil and garlic from Golden Empress. That part of her belonged in a lit street with buses and people who complained about missing cutlery. She didn’t let it lead. The note had told her to come alone. Folded once, tucked beneath the Heartstone chain in her drawer, as if it had always belonged there. Bring it to the Grove. Step through when the pendant warms. No witnesses. No signature. No threat. That bothered her more than threats. Threats meant a human mind on the other side, and human minds made the same old mistakes. Rory moved deeper into the clearing. The standing stones formed a rough boundary behind her, their edges now hard again, their silhouettes pressed against darker darkness. The path she used to enter had vanished. She could still see the gap, the idea of it, but the stones now stood shoulder to shoulder. “All right,” she said. “You can stop showing off.” Silence answered, thick and attentive. She started a slow circuit, feet careful, eyes level. She kept her breathing quiet, not out of fear, but to keep her senses clean. Her father’s voice, crisp in her memory, laid down rules the way he laid down arguments. Don’t give them your rhythm. Make them work for it. A sound flicked across the air. Not a twig snapping. Not an animal scuffling. A single, wet click, like a tongue against teeth. Rory stopped. The flowers froze too, stems held in a mid-bend as if someone had paused a film. She waited, and the moment stretched. Her phone felt like a dead weight against her thigh. The Heartstone pressed warmth into her palm. The click came again, closer, answered by another click from elsewhere in the grove, and another, an uneven chain that refused to settle into a pattern. Tick-tock belonged to clocks. This noise belonged to a mouth. Rory pivoted slowly, scanning the ring of colour around her. Every blossom faced inward. Not towards the sky, not towards any sun that might have existed outside this pocket. Towards her. She forced her shoulders down and loosened her fingers. “Show yourself,” she said. No one stepped forward. No voice broke the silence. Instead, something moved at the edge of her vision. A dark line slid between two clusters of flowers. Too tall for a fox. Too smooth for a deer. It moved with the glide of fabric pulled from a drawer. Rory snapped her gaze towards it. Nothing waited there. Only flowers, their petals cupped, their stems obedient. She exhaled through her nose and crouched. Her fingers hovered over the soil, then pressed down. The ground held dampness like a sponge. Not mud, not grit, something finer, packed tight, cool against her skin. She rubbed it between her thumb and finger. It left a faint sheen, like powdered glass. When she brought her fingers closer to her face, the metallic scent sharpened. Blood sat close under that sweetness. Rory stood and wiped her hand on her trousers. The Heartstone pulsed again, stronger. Heat spread along the silver chain, up to the back of her neck. Her scalp prickled. “Portal,” she said, not as a guess. The pendant didn’t warm for fun. It warmed near a Hel portal, that was the one clear thing she knew about it. Whoever had given her this artefact had made sure she learned at least that much. She followed the heat like a compass needle, turning until the warmth steadied. The flowers parted before her again. The click-click-click noise stopped. That silence, sudden and complete, pressed harder than sound. Rory moved towards the centre of the grove, where the wildflowers thinned and the earth showed through in a dark oval. A single stone sat there, not one of the standing stones, but a low, flat slab half sunk into the ground, its surface scratched with lines that caught the Heartstone’s light. Not letters. Not runes. Marks made by someone who didn’t write so much as cut. Rory crouched beside it. The air above the slab held a faint shimmer, like heat above asphalt, except cold rolled off it. The cold carried a smell too, not rot, not damp, but old smoke ground into cloth. Her pendant glowed brighter. The crimson light bled into her fingers, turning her skin the colour of a bruise. She reached out and held the gem over the slab. The shimmer thickened into a skin. It flexed upwards as if it breathed. The click returned, right beside her ear, close enough that she felt it in the tiny hairs at her temple. Rory did not jerk away. She turned her head in one smooth motion. A face hovered in the flowers at her shoulder height, half-hidden by stems. No eyes. No mouth. Just an oval plane of pale skin, stretched tight. Its outline trembled, as if it struggled to keep itself inside one shape. The clicking did not come from a mouth. It came from inside the face, from something tapping against the skin from within. Rory rose, quick and controlled, and put the slab between her and the thing. “All right,” she said. “That’s new.” The faceless head tilted. The flowers around it bent away, giving it room. Rory backed up one step. The standing stones stayed far behind her. Too far. The grove had grown. She knew the size of that clearing from the first time she had blundered into it, breathless, half-laughing, thinking she’d found a secret picnic spot. The boundary had sat close then, comforting in its nearness. Now, the stones had retreated like they had grown bored of being landmarks. Rory tightened her grip on the Heartstone. The gem’s warmth climbed to a burn. She hissed through her teeth and let it burn anyway. Pain gave clean information. A thread of sound rose from the slab. Not a voice. A low hum, like a fridge motor held under water. The faceless thing glided forward. It did not crush the flowers beneath it. They folded aside, reverent. It stopped at the slab’s edge and leaned down. The pale skin of its face rippled. Something underneath pressed outward, a long shape, sliding, searching. Rory moved around the slab, keeping it between them. She saw her reflection in the stone’s surface for a second, warped and dim, her bright eyes reduced to pale coins. She didn’t like that view of herself. It looked too much like the thing’s blank face, too close to featureless. She spoke again, sharper. “Who sent the note?” The clicking sped up. The hum rose in pitch. The shimmer above the slab thickened into a glossy membrane, and the air around Rory tasted of pennies and burnt paper. The Heartstone flared. The gem’s glow pushed through her fingers, crimson light spilling onto the stone slab, painting the carved marks into stark relief. The marks shifted. They did not crawl like worms or ripple like ink. They re-arranged with a deliberate scrape, each line sliding into a new alignment. The sound came through her teeth, vibrating her jaw. Rory swallowed once and forced her gaze to the new pattern. Shapes. A sequence. Her mind, trained to find structure in arguments and loopholes, grabbed at it. A door. A hinge. A keyhole. The air above the slab bulged upward, then split, as if someone had cut it with an unseen blade. A vertical seam opened, thin at first, then wider. Darkness lay behind it. Not the absence of light, but a depth with texture, like velvet soaked in oil. The cold rushed out, strong enough to sting her eyes. The faceless figure leaned in. Its skin stretched. The shape under it pressed harder, as if it wanted to be out, wanted to touch this opening first. Rory stepped back, the Heartstone held high like a warning. The pendant jerked in her hand. Not her own movement. The gem pulled towards the seam, yanking her wrist forward. The chain snapped tight at her neck. “No,” Rory said, and planted her feet. The pull strengthened. Her shoulder rolled as she resisted. The Heartstone throbbed with heat, each pulse a command. The faceless thing turned its blank head towards her. The clicking stopped. A voice spoke from inside that smooth skin, muffled, as if the words had to force their way through flesh. “Aurora Carter.” Her name landed heavy in the clearing. The flowers shivered in response. The standing stones in the distance answered with a low grind, like teeth. Rory’s throat tightened, but she kept her voice even. “Don’t use my full name. We’re not in court.” The faceless thing lifted one pale hand from the flowers. It held its palm out, fingers long, joints wrong. The seam in the air widened another inch. The Heartstone ripped free of Rory’s grip. The silver chain sliced across the back of her neck as the pendant flew towards the opening. Rory lunged, caught the chain with her left hand, and the crescent scar on her wrist flashed as the links bit into it. Pain spiked, clean and bright. The pendant kept pulling. Rory gritted her teeth and hauled back, arm shaking. The faceless hand closed around the Heartstone in midair. The gem’s crimson glow bled through its fingers, turning the pale skin red. The thing tightened its grip, and the Heartstone’s light stuttered, as if something had swallowed the flame. Rory drove forward and grabbed the thing’s wrist. Cold slammed into her palm, so intense it burned like heat. Her skin stuck for a second, then tore free with a tacky pull. The faceless head leaned close, inches from her. Its skin dimpled. A mouth pushed out from beneath, forcing its way into shape. Not lips, not teeth, just a seam that split open. Inside, darkness waited, the same velvet depth as the portal, and a second clicking started within it, louder, eager. The standing stones ground again, and this time they moved. The boundary ring began to close, stones sliding together with the certainty of a trap. Rory yanked the chain with both hands, braced her foot against the slab, and the portal answered with a sudden surge, the seam snapping wider as something on the other side shoved through.
created_at"2026-02-19T12:15:48.153Z" 2/19/2026, 12:15:48 PM
model"openai/gpt-5.2-20251211"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency10499
moderation_latency(null)
generation_time71013
tokens_prompt4560
tokens_completion3334
native_tokens_prompt4064
native_tokens_completion3120
native_tokens_completion_images0
native_tokens_reasoning452
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"
usage0.050792
router(null)
provider_responses
0
endpoint_id"f00142c2-6a93-49ce-9e36-5593b904ce3b"
id"resp_0f7f6152c48e4320016996fef43efc8195810176ad5138ea47"
is_byokfalse
latency204
model_permaslug"openai/gpt-5.2-20251211"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771503348-5Rt1znh5qcbIoYGSKbpU"
upstream_id"resp_0f7f6152c48e4320016996fef43efc8195810176ad5138ea47"
total_cost0.050792
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
totalTags7
adverbTagCount0
adverbTags(empty)
dialogueSentences14
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
97.64% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2121
totalAiIsmAdverbs1
found
0
adverb"slowly"
count1
highlights
0"slowly"
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)
50.50% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2121
totalAiIsms21
found
0
word"pulsed"
count2
1
word"warmth"
count4
2
word"pulse"
count2
3
word"silence"
count3
4
word"flicked"
count1
5
word"weight"
count1
6
word"scanning"
count1
7
word"trembled"
count1
8
word"comforting"
count1
9
word"stark"
count1
10
word"structure"
count1
11
word"velvet"
count2
12
word"throbbed"
count1
highlights
0"pulsed"
1"warmth"
2"pulse"
3"silence"
4"flicked"
5"weight"
6"scanning"
7"trembled"
8"comforting"
9"stark"
10"structure"
11"velvet"
12"throbbed"
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
narrationSentences221
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences221
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)
analyzedSentences228
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen33
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2115
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions7
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions43
wordCount2070
uniqueNames8
maxNameDensity1.16
worstName"Rory"
maxWindowNameDensity2.5
worstWindowName"Rory"
discoveredNames
Heartstone13
Park1
Golden1
Empress1
Grove1
Silence1
Hel1
Rory24
persons
0"Heartstone"
1"Silence"
2"Rory"
places
0"Park"
1"Golden"
2"Grove"
3"Hel"
globalScore0.92
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences152
glossingSentenceCount1
matches
0"felt like a dead weight against her thi"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches6
per1kWords2.837
wordCount2115
matches
0"Not with any obvious shift, no wobble like a loose gravestone, but with the slow, live give of cartilage"
1"not out of fear, but to keep her senses clean"
2"not one of the standing stones, but a low, flat slab half sunk into the ground, its surface scra"
3"not rot, not damp, but old smoke ground into cloth"
4"not damp, but old smoke ground into cloth"
5"Not the absence of light, but a depth with texture, like velvet soaked in oil"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences228
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs94
mean22.5
std15.14
cv0.673
sampleLengths
018
165
243
312
410
57
656
743
829
910
1018
1145
1226
1361
1425
1513
1627
1752
189
195
2040
2110
226
2317
242
2516
2623
2736
2831
299
304
319
3239
336
3411
3516
3648
376
389
3921
4044
4123
429
4352
4415
4538
4619
4710
4833
4913
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences221
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs347
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences228
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2076
adjectiveStacks1
stackExamples
0"finer, packed tight, cool against her"
adverbCount73
adverbRatio0.03516377649325626
lyAdverbCount2
lyAdverbRatio0.0009633911368015414
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences228
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences228
mean9.28
std6.08
cv0.656
sampleLengths
018
116
225
324
46
519
618
76
86
94
106
117
129
1324
145
156
1612
1712
184
1927
209
2114
226
235
245
256
268
274
285
2917
308
3115
3212
335
346
353
3612
3726
3818
395
408
4117
425
436
442
452
462
476
4817
496
33.77% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats37
diversityRatio0.21929824561403508
totalSentences228
uniqueOpeners50
82.51% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences202
matches
0"Instead, something moved at the"
1"Too tall for a fox."
2"Too smooth for a deer."
3"Only flowers, their petals cupped,"
4"Just an oval plane of"
ratio0.025
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount57
totalSentences202
matches
0"It struck her sternum with"
1"She planted her trainer on"
2"She snatched her hand back"
3"Her voice came out clipped"
4"Her skin still remembered the"
5"She stood in the clearing"
6"Their colours held a stubborn"
7"It carried the sting of"
8"She pocketed the phone, then"
9"It didn’t heat like metal"
10"It warmed like blood."
11"She watched the stems bend"
12"She lifted her foot and"
13"They did not brush her"
14"They avoided contact."
15"Her delivery bag hung empty"
16"She didn’t let it lead."
17"She could still see the"
18"She started a slow circuit,"
19"She kept her breathing quiet,"
ratio0.282
31.78% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount173
totalSentences202
matches
0"Aurora shoved her shoulder between"
1"The silver chain bit into"
2"It struck her sternum with"
3"She planted her trainer on"
4"The surface moved under her"
5"She snatched her hand back"
6"Her voice came out clipped"
7"The stone stayed stone."
8"Her skin still remembered the"
9"She stood in the clearing"
10"Wildflowers filled the space where"
11"Their colours held a stubborn"
12"The smell didn’t belong to"
13"It carried the sting of"
14"Rory pulled her phone from"
15"Richmond Park played dead out"
16"She pocketed the phone, then"
17"The deep crimson gem glowed"
18"The warmth spread into her"
19"The pendant answered with another"
ratio0.856
49.50% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences202
matches
0"Whoever had given her this"
1"Now, the stones had retreated"
ratio0.01
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences81
technicalSentenceCount3
matches
0"Richmond Park played dead out here on a good day, and this place made a habit of swallowing anything that tried to speak to the wider world."
1"A single stone sat there, not one of the standing stones, but a low, flat slab half sunk into the ground, its surface scratched with lines that caught the Heart…"
2"The thing tightened its grip, and the Heartstone’s light stuttered, as if something had swallowed the flame."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags7
uselessAdditionCount0
matches(empty)
78.57% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount1
fancyTags
0"she muttered (mutter)"
dialogueSentences14
tagDensity0.429
leniency0.857
rawRatio0.167
effectiveRatio0.143
86.7203%