Run: 2026-02-19-01KHTX7XYE44HX90HM7VQVWFFD

Run Details

Model:
GPT-5.1
Duration:
2m 47s
Cost:
$0.054407
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
Quinn hit the slick cobbles sideways and kept running. Her shoulder clipped a parked scooter, sent it rattling. Ahead, the suspect glanced back once, pale face a flash under the streetlamp before he sliced between two honking taxis and vanished behind a spray of filthy water. She tasted exhaust and wet brick. Her lungs burned but her stride stayed even, arms pumping in drilled rhythm. Eighteen years on the job, ten before that in uniform, her body knew pursuit better than sleep. The radio crackled at her hip. "Quinn, update." "Visual on target, Camden High Street, heading north." Her breath came sharp between words. "Male, mid twenties, hoodie, black rucksack. Suspected link to Blackfriars crime scene." "Units diverting." "Negative. Do not spook him." "That is not your call, Detective." "It is tonight." She killed the volume with a thumb and veered into the road. Tyres screamed. Horns flared. A bus loomed but she cut in front of it, coat snapping around her knees, mind cold and fixed. The suspect darted past a kebab shop, slipped on the wet pavement, slammed a hand to the glass to steady himself, then bolted again. A woman carrying a takeaway shouted abuse as Quinn barreled past. He turned left, into a narrow gap between a vape shop and a boarded up newsagent. No CCTV there. Dead ground. Her jaw set. Of course he knows the blind spots. She forced herself not to think of another chase, another partner, a stairwell that ate radio signal and spat back silence. DS Morris lying crumpled in the dark. The coroner had written "blunt force trauma" with tidy ink. The photographs had shown something else lurking at the edge of the frame, a shadow that did not belong. Quinn hit the alley mouth, shoes slapping through oily puddles. The stink here changed, hot rubbish and stale beer, the greasy hum of extractor fans. The suspect ran low and nimble, trainers splashing, rucksack thudding against his spine. "Stop, police." He did not even flinch. He cut right, under a half rolled shutter tagged with looping graffiti. She saw his hand flash, something bone white between his fingers, and then he vanished into the dark. Quinn skidded to a halt at the shutter. A gap at the bottom, just wide enough. Beyond lay a sloping concrete ramp and a draft of air that came from somewhere deep, smelling of old stone and damp metal. Her watch ticked against her pulse. Worn leather against damp skin. She dropped to one knee, flattened herself and slid under. Rust scraped her back, caught her coat. For a second she felt pinned, trapped, the metal kissed the nape of her neck. Not here. Not like Morris. She exhaled hard, pushed through, and tumbled onto the ramp. The sound changed at once. The muffled roar of the street thinned, replaced by a hollow hum, a murmur from below like a crowd behind thick glass. She pushed up and drew her sidearm. The suspect's footsteps echoed faintly down the ramp. She moved, low and steady, eyes adjusting. Emergency strip lights glowed along the ceiling, some dead, some buzzing. The walls showed the old cream tiles of a disused Tube entrance, cracked and stained, adverts from another decade peeling in tatters. Someone had prised the TfL roundel from the wall. In its place hung a black disc painted with a single white line, jagged, like a crack through stone. Her boots hit the first of the stairs. Chalk symbols looped across the steps, half scrubbed, half fresh. Circles intersecting triangles, letters that belonged to no alphabet she knew. She had seen similar marks in Morris' final case file, photographed on a warehouse floor in Rotherhithe before someone higher up had stamped the folder classified and pulled it from her hands. The memory tried to slow her. She forced herself to keep moving. Below, the suspect's steps quickened. "I can hear you." Her voice rang down the shaft. "You will not outrun me underground." A man's voice floated back, distorted by the curve of the stairwell. "Wrong tracks, copper." It carried a laugh, wrong for the words, too calm. She felt the hairs rise on her arms. The staircase turned twice, then spat her into a wide landing with ticket barriers frozen in mid service, gates locked open and rusted that way. Beyond, twin escalators, their metal teeth still. The suspect pelted toward the platform level. One hand went to his pocket. "Stop." Her shout cracked against the tiles. "Hands where I can see them." He sprinted quicker. He reached the top of the escalator, pivoted hard, vaulted the dead handrail, and dropped out of sight. Quinn reached the edge and looked down. Not a platform. Not anymore. Where the escalator once descended to trains, someone had broken through. The bottom third of the stairway ended in a jagged cut of concrete that opened into a larger void, a tunnel whose brickwork looked older than the station itself. Lights glowed down there, warm and gold, flickering like candle flames. The murmur she had heard thickened, turned into many voices, some human, some not. Her mouth went dry. She took the easier path, ran down the escalator the proper way, metal steps clanging. Halfway down she saw him again, at the broken edge, facing a man in a long dark coat. The coat hung straight, too clean for this ruin. The man held out his hand. "Token." The suspect dug into his pocket, pulled out the white thing she had glimpsed. Not a card. A sliver of bone, worn smooth by many fingers, drilled clean through at the centre. It looked like a knucklebone from a child's game, polished until it gleamed. The man in the coat took it between thumb and forefinger. His nails looked wrong, too thick, cut square. He closed his hand around the bone, then opened it again. The token flared dull red, glow dull as ember. The man watched Quinn approach, eyes hooded, then turned and pressed the bone against a patch of brick beside him. The wall rippled. Bricks that had stood solid for a century sighed and folded in, mortar running like mud. A gap appeared, an arch just wide enough for a person. Warm air breathed out, thick with spices, sweat, and something metallic that brushed the back of her tongue. The suspect slid through the arch without looking back. The man in the coat stepped to block the opening as it started to congeal closed again. Quinn raised her gun. "Step aside." He smiled, small and sharp. "No jurisdiction past this point, Detective." Her finger tightened. "You know my name." "Your reputation travels." He tapped his chest, right above where a warrant card would hang on a copper. "This is not your kind of market." She reached the bottom of the escalator and came to a halt three metres from him. Up close, his eyes had a milky sheen, like there was a second film over the iris. "Market for what." "Things people want. Things they should not want." "The man who just went through, he is wanted for questioning in a murder investigation. Move." "He has paid his way. You have not." He angled his body, not quite braced to fight, not quite relaxed. He never took his hand off the slowly hardening bricks. Behind him, in that brief gap, she saw a fragment of the world on the other side: a stall draped in faded velvet, strings of coloured glass, a figure with too many rings stacking clear jars filled with something that glowed faintly. Then the bricks pushed back into place, and the crack sealed with a wet stone sound. The bone token in the man's hand cooled to ivory again. He tucked it into his pocket. Her muscles went tight. "You are going to open that again." "You are going to go back up those stairs." "You think so." "I know so." He nodded at her gun. "You fire that here, it echoes for days. People ask why you brought the surface rules down. They take it badly." Her radio buzzed against her hip again, faint, as if the signal had to force its way through something thick. "Quinn, status. Respond." She ignored it. Her world had shrunk to the man, the sealed wall, the dryness in her throat. There had been odd things before, odd enough to wake her at night. Bodies with no clear cause of death, CCTV that skipped at just the wrong moment, witnesses who swore shadows moved against the light. She had filed reports and watched them disappear into locked cabinets. That was all noise. The door in front of her felt like signal. "What is that place." "Beneath." "Beneath what." "Everything you pretend does not exist." His smile widened, only a fraction, but enough. "You cannot follow." "You prepared to bet on that." She stepped closer. The floor felt wrong under her soles, too smooth for cracked concrete, as if something had worn a groove in it, back and forth, many times. He watched her hands. She watched his feet. He moved first, tried to pivot and bring his shoulder into her, body checking her off balance. She caught his wrist, turned with the motion and used his weight. Judo lived in her bones. He went down hard, shoulder cracking against a dead escalator's metal lip. Something small and pale flew from his pocket and skittered across the tiles, bone flashing in the light. He grunted, came up with a knife in his off hand, arm sweeping low toward her thigh. She stamped his wrist to the floor. Steel pinged loose. His breath knocked out of him in a harsh curse. "Stay down." He spat blood at her boot. "You drag that blade upstairs, I book you for possession and see how long you last in remand." "You drag that gun downstairs, and you do not last ten minutes." His eyes glittered, no longer hooded. Quinn kept her boot on his arm and scanned for the bone. It lay near the wall, still, a dull little thing for all the weight it seemed to carry. She shifted, never fully taking pressure off him, and picked it up. Warm. Too warm for something that had sat on cold stone. The hole at its centre seemed deeper than it should, shadow pooling inside. He hissed. "That token does not belong to you." "Now it does." "You have no idea what waits on the other side." Her watch ticked high and fast. Her radio crackled again, more distant this time, as if her own world stepped back from her. She saw Morris' hand in her head, fingers reaching toward her out of the darkness at the bottom of that stairwell, skin slick, wrist bent wrong. Saw the black smudge on the wall opposite, like something had pressed itself flat and left a stain without ever having a body. If she walked away now, this door would close in more ways than one. The suspect gone. The market sealed. The questions in her case files stayed questions. Her voice came out softer. "What is inside." The man lay half pinned, chest heaving. "Debts." He bared his teeth. "And things that know your name before you speak it." She lifted her boot from his wrist and stepped back. He stared, confusion chasing defiance across his face. "Quinn, do not be stupid." "Oh, I am tired of clever." She raised the bone and pressed it against the same patch of brick he had touched. For a moment, nothing happened. Just brick, cold and harmless. Then the token burned. Heat drove into her palm. She clenched her jaw, refused to drop it. The bone's glow woke, ember to coal to a soft blood red. The wall unstuck from itself and peeled back with the sound of a slow inhalation. Warmth and scent rolled over her. The space beyond unfolded. The tunnel opened into a cavern carved from the bones of the old station and something older, arches ribbed like a beast's cage. Fairy lights tangled with exposed wiring. Stalls grew from the brick, patched together from shipping crates, carved wood, antique doors. One glimmered with knives that drank rather than reflected light. Another spilled glass bottles stoppered with wax, each containing smoke that pressed against its prison. Voices rolled and crashed. Human, almost human, not human at all. A woman with hair like ink and eyes reflective as a cat's argued in French over the price of a jar filled with teeth. A hunched figure with mottled grey skin and a Saint George's flag stitched to his bomber jacket shook dice into a customer's palm that crawled of their own accord. Somewhere, something that sounded like a child and not like a child laughed and laughed. Quinn swallowed. The man behind her scrambled up on one elbow. "Detective. Last chance. Back out." She slid her gun into its holster, not from trust but because she had seen enough crowds turn feral at the sight of a firearm. She slipped the bone token into her coat pocket, feeling its heat soak through the lining. Her throat felt raw. "That suspect," she said, never taking her eyes off the riot of the market, "where does he run in there." "He will know the way. You will not." "Then I learn fast." She stepped through the arch. The air closed around her different, thick and humming. The ground shifted under her feet, no longer plain tile but a patchwork of worn rugs, beaten earth, and something like old train ballast. Conversation faltered near her, like a record skipping. Heads turned. Faces followed, some with too many eyes, some with features that did not settle. She heard the man in the coat get to his feet behind her. He did not follow. That told her enough. A woman at a nearby stall watched Quinn with open interest. She wore a man's suit that hung on her sharp frame like it missed a body inside it, throat bare, no tie. On the table before her, little bottles of dark liquid shivered in their trays as if they had nerves. "Lost, love." Her accent carried old East End, vowels long and lazy. "Looking for someone," Quinn said. "Down here every bastard is looking for someone. Or something to fix the ones they have lost." The words landed with unpleasant accuracy. Quinn scanned the crowd, searching for black hoodie, rucksack, guilty shoulders. The suspect threaded his way through a knot of figures near the far curve of the cavern, head ducked, making for a darker passage where the light thinned. Her pulse kicked. "There," she breathed. The woman followed her gaze. "That one," she said, "has paid safe passage. You have not." "Send me the invoice." Quinn moved. The crowd resisted. Not overtly. A step here, a stall jutting that had not been there a heartbeat before, a group of cloaked figures drifting together in front of her as if drawn by sudden conversation. The air tasted off, sweet then bitter, like she had bitten into overripe fruit. She dodged a hanging cage where something small and winged beat itself against the bars hard enough to rattle the chain. A hand with scales instead of knuckles brushed her sleeve and withdrew. Murmurs rustled in her wake. "Surface law," someone said. "Wrong boots," someone else snickered. Her eyes never left the line of the suspect's back. He reached the edge of the main chamber and slid into the side passage, lit by fewer bulbs, their glow jaundiced and sickly. She pushed harder. A tall man in a velvet coat stepped into her path and raised a silver flask. "To new blood," he said. She shouldered past him. "Find another toast." He caught her arm with cold fingers. "Careful where you spill your authority, Detective. Some of us lap it up." She twisted free. His grip left her skin tingling, as if he had touched a nerve instead of flesh. She reached the mouth of the passage and paused for half a heartbeat. The tunnel beyond fell away into darkness broken by irregular lamps hammered into the walls. Symbols cut into the brick pulsed faintly, out of sync with any sane rhythm. The hum in the air thickened, no longer social, now structural, like the market itself had a heartbeat buried deep. Behind her, the crowd's noise rose again, louder, less curious and more interested, like spectators sensing a fight. Her radio on her hip gave one last stuttering burst and died, screen blinking to black. She stood between two worlds, both watching. Her palm brushed the bone token in her pocket. Still warm. That heat seemed to seep up her arm and settle behind her breastbone, a false heart. She thought of the neat tick of her watch, of Morris' name etched on a memorial wall, of case files that ended not with closure but with transferred, reassigned, discontinued. Ahead, in the gloom, a shadow moved, light catching the edge of a black rucksack as the suspect broke into a run again, deeper into the unknown. Quinn stepped after him. The ground dropped, a shallow ramp that felt steeper in the half light. The walls closed in, damp beading on the brick. A metallic tang grew stronger, cutting through the spice and sweat from the main hall. Under it, a subtler smell, old hospitals and long cleaned blood. The suspect glanced back, eyes wide now that the crowd had thinned and he could see who stalked him. "You do not want to be here," he called. "I am already here." "You think murder is what this is about." He laughed, a short ugly sound. "This is about debt." He swung his rucksack off his shoulder mid stride, dragged at the zip. Quinn reached for her gun. The nearest lamp flickered and flared out, then the next, plunging the passage into stuttering shadow. The symbols in the walls brightened, their glow crawling like sick light under skin. He tore something from the bag. A compact bundle wrapped in brown paper, string cutting deep into the corners. He hurled it to the floor between them. The paper split. Something inside hit the ground wet and heavy. The smell exploded first, sharp copper and rot, like every slaughterhouse she had ever walked through jammed into one breath. A pale hand rolled free, fingers crushed into a fist. Quinn's vision pinpricked, not from shock, but from the way the bricks around the package pulsed, lines of faint light racing out from the meat like veins seeking a heart. The ground shivered under her boots. Behind her, at the tunnel mouth, the market noise shrieked and cut as if someone had sliced a record. Ahead, the suspect stepped back, lips moving silently as if reciting. The walls bulged inward. From the meat on the floor, from the pale hand, from the web of light in the brick, something began to pull itself upright.
created_at"2026-02-19T12:15:51.766Z" 2/19/2026, 12:15:51 PM
model"openai/gpt-5.1-20251113"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency4763
moderation_latency(null)
generation_time166707
tokens_prompt4663
tokens_completion5896
native_tokens_prompt4132
native_tokens_completion5385
native_tokens_completion_images0
native_tokens_reasoning1308
native_tokens_cached4096
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"
usage0.054407
router(null)
provider_responses
0
endpoint_id"764eb97f-8bab-4326-b29b-7a8799b00a70"
id"resp_0bee38c782a094e1016996fef7df448190b079956bee1585d5"
is_byokfalse
latency176
model_permaslug"openai/gpt-5.1-20251113"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771503351-7h4L0UXId2eF444ClHiy"
upstream_id"resp_0bee38c782a094e1016996fef7df448190b079956bee1585d5"
total_cost0.054407
cache_discount0.004608
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
totalTags16
adverbTagCount0
adverbTags(empty)
dialogueSentences66
tagDensity0.242
leniency0.485
rawRatio0
effectiveRatio0
98.42% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount3173
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)
65.33% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount3173
totalAiIsms22
found
0
word"pumping"
count1
1
word"loomed"
count1
2
word"silence"
count1
3
word"pulse"
count2
4
word"footsteps"
count1
5
word"echoed"
count1
6
word"quickened"
count1
7
word"velvet"
count2
8
word"echoes"
count1
9
word"weight"
count2
10
word"scanned"
count2
11
word"warmth"
count1
12
word"pulsed"
count2
13
word"etched"
count1
14
word"gloom"
count1
15
word"flickered"
count1
16
word"racing"
count1
highlights
0"pumping"
1"loomed"
2"silence"
3"pulse"
4"footsteps"
5"echoed"
6"quickened"
7"velvet"
8"echoes"
9"weight"
10"scanned"
11"warmth"
12"pulsed"
13"etched"
14"gloom"
15"flickered"
16"racing"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"clenched jaw/fists"
count1
highlights
0"clenched her jaw"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences255
matches(empty)
92.44% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount6
narrationSentences255
filterMatches
0"watch"
hedgeMatches
0"tried to"
1"started to"
2"seemed to"
3"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences307
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen42
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords3173
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions29
wordCount2730
uniqueNames11
maxNameDensity0.59
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Quinn"
discoveredNames
Quinn16
Morris2
Tube1
TfL1
Saw1
French1
Saint1
George1
East1
End1
Ahead3
persons
0"Quinn"
1"Morris"
2"Saint"
3"George"
places
0"French"
1"East"
2"End"
globalScore1
windowScore1
55.91% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences186
glossingSentenceCount7
matches
0"looked like a knucklebone from a child's"
1"not quite braced to fight, not quite relaxed"
2"not quite relaxed"
3"felt like signal"
4"seemed deeper than it should, shadow pooling inside"
5"sounded like a child and not like a child"
6"something like old train ballast"
7"as if reciting"
73.94% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords1.261
wordCount3173
matches
0"not from trust but because she had seen enough crowds turn feral at the sight o"
1"no longer plain tile but"
2"not with closure but with transferred, reassigned, discontinued"
3"not from shock, but from the way the bricks around the package pulsed, lines of"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences307
matches
0"rusted that way"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs201
mean15.79
std14.68
cv0.93
sampleLengths
09
137
236
36
42
526
62
75
86
93
1035
1135
1224
137
1457
1538
162
175
1830
1939
2011
2132
225
2310
2427
2515
2640
2728
2861
2912
305
3116
3212
333
3418
3532
3613
3713
383
3918
407
415
4265
434
4415
4533
461
4745
4830
4929
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences255
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs476
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences307
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount781
adjectiveStacks0
stackExamples(empty)
adverbCount19
adverbRatio0.024327784891165175
lyAdverbCount2
lyAdverbRatio0.002560819462227913
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences307
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences307
mean10.34
std7.09
cv0.686
sampleLengths
09
19
228
36
413
517
66
72
814
912
102
115
126
133
1412
152
162
1719
1824
1911
2016
213
222
233
247
2521
267
2710
2819
2910
3015
3113
322
335
3412
3518
368
378
3823
396
405
4110
427
4315
442
453
4610
475
4822
497
42.45% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats28
diversityRatio0.30944625407166126
totalSentences307
uniqueOpeners95
84.75% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences236
matches
0"Of course he knows the"
1"Then the bricks pushed back"
2"Too warm for something that"
3"Just brick, cold and harmless."
4"Then the token burned."
5"Somewhere, something that sounded like"
ratio0.025
64.07% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount92
totalSentences236
matches
0"Her shoulder clipped a parked"
1"She tasted exhaust and wet"
2"Her lungs burned but her"
3"Her breath came sharp between"
4"She killed the volume with"
5"He turned left, into a"
6"Her jaw set."
7"She forced herself not to"
8"He did not even flinch."
9"He cut right, under a"
10"She saw his hand flash,"
11"Her watch ticked against her"
12"She dropped to one knee,"
13"She exhaled hard, pushed through,"
14"She pushed up and drew"
15"She moved, low and steady,"
16"Her boots hit the first"
17"She had seen similar marks"
18"She forced herself to keep"
19"Her voice rang down the"
ratio0.39
34.15% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount201
totalSentences236
matches
0"Quinn hit the slick cobbles"
1"Her shoulder clipped a parked"
2"She tasted exhaust and wet"
3"Her lungs burned but her"
4"The radio crackled at her"
5"Her breath came sharp between"
6"She killed the volume with"
7"A bus loomed but she"
8"The suspect darted past a"
9"A woman carrying a takeaway"
10"He turned left, into a"
11"Her jaw set."
12"She forced herself not to"
13"DS Morris lying crumpled in"
14"The coroner had written with"
15"The photographs had shown something"
16"Quinn hit the alley mouth,"
17"The stink here changed, hot"
18"The suspect ran low and"
19"He did not even flinch."
ratio0.852
21.19% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences236
matches
0"If she walked away now,"
ratio0.004
67.97% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences124
technicalSentenceCount13
matches
0"Beyond lay a sloping concrete ramp and a draft of air that came from somewhere deep, smelling of old stone and damp metal."
1"Circles intersecting triangles, letters that belonged to no alphabet she knew."
2"The bottom third of the stairway ended in a jagged cut of concrete that opened into a larger void, a tunnel whose brickwork looked older than the station itself…"
3"Behind him, in that brief gap, she saw a fragment of the world on the other side: a stall draped in faded velvet, strings of coloured glass, a figure with too m…"
4"Her radio buzzed against her hip again, faint, as if the signal had to force its way through something thick."
5"Bodies with no clear cause of death, CCTV that skipped at just the wrong moment, witnesses who swore shadows moved against the light."
6"The floor felt wrong under her soles, too smooth for cracked concrete, as if something had worn a groove in it, back and forth, many times."
7"A hunched figure with mottled grey skin and a Saint George's flag stitched to his bomber jacket shook dice into a customer's palm that crawled of their own acco…"
8"On the table before her, little bottles of dark liquid shivered in their trays as if they had nerves."
9"A step here, a stall jutting that had not been there a heartbeat before, a group of cloaked figures drifting together in front of her as if drawn by sudden conv…"
10"His grip left her skin tingling, as if he had touched a nerve instead of flesh."
11"Behind her, at the tunnel mouth, the market noise shrieked and cut as if someone had sliced a record."
12"Ahead, the suspect stepped back, lips moving silently as if reciting."
93.75% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags16
uselessAdditionCount1
matches
0"she said, never taking her eyes off the riot of the market,"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount2
fancyTags
0"Her shout (shout)"
1"she breathed (breathe)"
dialogueSentences66
tagDensity0.121
leniency0.242
rawRatio0.25
effectiveRatio0.061
86.4791%