Run: 2026-02-19-01KHTX9EV1YBWCTKC2TKY2E1QX

Run Details

Model:
GPT-5
Duration:
2m 20s
Cost:
$0.057594
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
You still spin the glass three times. My fingers stopped on the second turn. The ice pressed a cold ring into my palm, lemon oil on my skin. I looked up and saw her face where there should have been a stranger's, saw the old bones under new shadows. Eva rested her elbows on the bar as if she had never left it. Her coat clung to her like a promise that had outlived its weather. The collar had a slick sheen, not leather, something cheaper that wanted to be. She wore a cropped cut that exposed the delicate points of her ears. A night of sleep had not visited her recently. The space under her cheekbones had been hollowed for coins. You grew into those eyes. Not the teeth first, then. Good to know. She laughed without letting it out of her mouth. A small quiver at the throat. She reached across and turned my glass the last quarter. I always hated that you did this, she said. Bad luck to leave things unfinished. You never believed in luck. Her hand slid off the glass. She studied the way my fingertips kept to the safe side of the rim, saw the tiny white crescent on my wrist. She traced it in the air and her mouth tightened. Still there, she said. Always. Silas paused before us, the cloth paused with him, mid swirl over a pint glass. He did not invite himself into our history. His hazel eyes took stock, filed everything by date and threat, and moved on. The silver signet ring on his right hand clicked against the stout handle as he set it aside. Long time, Miss Carter, Eva said. Do not call me that. She smiled. Rory then. Eva. Her name sat between us with its arms folded. Behind her shoulder, black and white photographs watched, faces of sailors and girls with perfect lipstick who would have laughed at our seriousness. The old maps bore thumbtack scars. Somewhere near a corner of Africa, someone's initials had bled into the paper in an old spill. The neon above the door painted a sliver of green down her temple when the door opened and closed, opened and closed, the city doing its restless shuffle. Where did you go? I said. Picking up the sharp ones, are we. Convenience. She looked down, laughed into the darkness of her coat. When she lifted her head again, she had decided on charm. It never did fit her right, a borrowed jacket with the seam coming loose. I found your flat once, she said. One stair up, sticky banister, stupid little brass number on the door. Had a bag of those Portuguese custard things. Thought you still liked them. I do. But you did not open the door. Someone else did. A man. He had the decency to look bored when he told me you were not there. Rudest lie in the world, boredom. Silas set down a small bowl of peanuts with his careful grace and took the order of a couple at the far end. His limp softened his steps without slowing them. You could have come to the bar, I said. This is the bar. Earlier. Years earlier. We both watched the condensation slide down my glass. Eva's finger followed one drop with a hunger that had nothing to do with drink. You left, I said. I drove you here, she said. Yes. You left anyway. She flinched, as if I had glanced a bruise I could not see. He hit you twice after that, she said. Once with the hand, once with something with a buckle. The second left a mark on your shoulder that looks like a bad map of Wales. You kept track. I am not an archivist, Rory. I do not catalogue to feel useful. What do you do then. I run. I waited. And I come back when I need things. There it is. She tapped the bar twice, a little code we invented when we were twelve and hiding answers to maths problems under sleeves. Someone far older would have taken that sound for impatience. It was not that. Ask, I said. Not yet, she said. We let the bar return to its business. The men in paint-splattered trousers by the dartboard argued about a bullseye that had never happened. A woman with a red scarf over her hair traced the frame of a photograph with her thumb as if she could rub herself into it. Silas poured, spoke little, collected notes, left change exact. The Raven's Nest breathed in used citrus and old varnish. A line of light glowed behind the bookcase at the back, the secret known to those who needed it. Eva's gaze snagged there. Still playing the librarian. Some habits pay the rent. You always did like a room behind a room. You do not get to include me in that. The rooms I hid in were not lined with atlases. She slid a coin along the bar, made it catch on the little ridge of wood where countless rings had chewed it. The coin teetered, settled with the Queen looking at us upside down. You cut your hair, I said. I lost it in a bet. Who with. Myself. Did you win. Look at me. I did. Her face was a study in the small accommodations a person makes with the mirror. The eyeliner shaded not to invite attention, but to invent a border. Her teeth pressed faintly into the inner lip, a habit from school, less charming when it had worn grooves. How long clean, I said. Who told you I was dirty. The pause told me more than an answer would have. Long enough to get through this drink without shaking, she said. She did not lift her glass. Silas returned as if he had been waiting for the exact beat to land on. He glanced at Eva's hands, at the cheap ring with the stone that pretended to be sober. He shifted the empty napkin towards her, an old bartender's trick, offer a small white square for someone to destroy rather than their own skin. Miss, he said. If you are going to bleed, do it on that. My polish is the only thing I baby. I am not bleeding, she said. Yet. He moved away. He had taught me that trick on the second week I moved in, after I left a smear of tomato juice like a crime scene on the edge of the till. Blood is an honest nuisance, he said. The rest we can wash off with hot water. Eva watched him. Who is the museum curator, she said. Silas Blackwood. He owns this place. He looks like he owns other things. He used to. Does he know you. Enough. You never did trust men with tidy beards. You never did trust men who did not scare you first. Her thumb pressed into the soft of her palm. A crescent like mine would form there if she kept at it. Two of us, she said. Two what. Crescents. She had always done that. Gleaned a poetry out of ordinary damage. We used to peel our shins climbing the brick wall behind Ellis's sweet shop and she would name every scab like a saint. When one tore and bled, she bent her head to it as if it were a confession. You kept the scar, she said. It kept me. She smiled for real then, teeth, the lot. It took a second off her age. Then it returned. I could have caught it and kept it like heat in my hands if I had wanted to risk the burn. All right, she said. I need money. No. You did not ask how much. No, I did not. You know I would ask high. Always an overachiever. Her eyes flickered to the photographs. Do any of those men owe you, she said. Strong backs, sentimental faces, debts that compound in the night. They are all dead, I said. So are we, she said. We just walk around so we can make harder choices. If you want help, you are going to have to say something true. She leaned close enough that I smelled peppermint disguising the ghost of a cigarette. Evan is not the one who broke me, she said. I kept my face still. Me, she said. I did it. One morning I woke up and decided I could not stand to be the version of myself I had promised you. The brave one with the car and the plan and the words that made you cross the bridge. I left you because I wanted to see if you would cross without me. You left because you were scared. You make that sound like a complaint. It is. You were my friend. She did not step back. She let the closeness sting. I came tonight because someone said your name out loud in a room where it should not exist, she said. Which room. The back of a minicab. The driver spoke Welsh with the man on the phone and forgot I could understand the curse words. He said, the lass above the Raven, with the blue eyes. He said Carter and Malphora and Laila in the same breath like he was throwing darts to see what would hit. Malphora is a joke. Not to him. Who was he speaking to. I did not ask him to hold the line. Not helpful, Eva. I am not helpful. You know this. I bring news and weather and then I go. Spare me the weather. Fair. What I heard is that someone is coming to collect a favour you do not know you owe, she said. Who. She pushed the coin back towards me. Her nail clicked against it, that same small code again, louder. The man who gave Evan the bottle with the buckle. Memory tried to drag its chair over. I let it wobble. You should go, I said. No, she said. I should stay where you can watch me. The red-scarved woman laughed, a sudden bright sound, and the dartboard argument died as if someone had pulled the plug. Silas's eyes found me. I tilted my chin. He nodded as if we had just agreed on when to change a keg. We are going in the back, I said. You still prefer rooms with one door, she said. One door is easier to guard. We left the bar without drama. That was the trick Silas had drilled into me, move like you are supposed to. Do not give fear the performance of a scramble. At the bookcase he let his ringed hand drift over the spines until it landed on an old blue Baedeker. The shelf unlatched with a sigh, that private sound that houses make when secrets stretch after days of stillness. Inside, the room kept a low light. There was a table that had been a door once, you could see the holes where the knob had been. A kettle sat squat in the corner like an old aunt impatient for gossip. The maps here were more detailed, showing the river's belly, the streets that twisted like thread pulled through tired fabric. The walls held the smell of paper and cold liquor. Sit, Silas said. Eva perched on the edge of a chair as if any moment might require a sprint. I sat opposite with my knees braced against wood. You are the Eva who lived in a Vauxhall Astra, Silas said. Her head snapped towards me as if I had released a name in a church. I did not look away. An old file, I said. A human memory, he said. Your friend arrives thin, watches doorways, lies badly about being fine. I have seen worse, I have seen better. Tea. No, she said. Yes, he said, and brought it anyway. He placed the cup and then, as an afterthought, a biscuit on a plate with a purple rim. Some bar bought cheap from a closing shop. Eva's hand moved before she could instruct it not to. She broke the biscuit and ate the smaller half first. Always did. Save the better bit. Lie to yourself that it will taste the same. Talk, Silas said. A man named Kerr, she said. Or Carr. They call him something that sounds like a cough. He sits where he can see reflections. He pays cash from a wallet that is too thin to hold so many notes. He does not drink more than one. His eyes do, his eyes drink the room. He asked about blue eyes in Soho and someone thought of you. He asked about Welsh swearing and the man obliged. He liked the words. He repeated them with care. And you followed him to repay a wrong, Silas said, or to create one. Do not patronise me, she said. That would require more time than I have. Eva leaned forward. The lines at her mouth deepened. He knows the names you use when you want to be other than Aurora, she said. Light scratched under my ribs. Who told him, I said. London is a sieve, she said. We are the tea leaves. Silas's hand settled on the back of my chair. A privacy disguised as a paternalism. It steadied without pinning. You came here knowing you might lead him, I said. I came here because I already led him somewhere I did not like and I wanted him to lose interest, she said. And you thought a bar with a neon sign that could be seen from three streets would confuse him. I thought the quiet man with the bad knee might have a way to make me invisible for ten minutes. Silas's mouth slanted. You flatter, he said. I tell you what you already think. Movement passed outside the secret room, footfalls not belonging to anyone I knew, the rhythm of men who had worn heavy soles most of their lives. The shelf had clicked back into place when we came in, but the slight of the latch knew no loyalty to wood. It kept its own counsel. I do not prefer surprises, Silas said softly. Do you keep a back door in the back room, I said. He lifted a brow and did not answer. Old spies hoard their yeses. Eva had not touched her tea. She cradled the heat for its borrowed steadiness. Her thumb had found the rim and worried a chip into a wound. All right, she said. Ask me the question you want most. Why now. Because the past finally wrote your name on a debt I thought had settled with mine. We might have sat there tracing the outline of that sentence until it smudged. Silas's head tilted. He is here, he said. On cue, the faint scrape of the bookcase shifted. The green from the sign outside poured a thin knife into the seam of wall and wood as the shelf moved a fraction. It stopped, then pushed again, more force this time, and the spines shuddered as if the words inside wanted out. The first thing through the gap was the muzzle of a pistol, unadorned, workmanlike. A ringed hand, not Silas's, followed. Hello, said a voice that had spent years tasting cigarettes. We have been looking for blue.
created_at"2026-02-19T12:16:41.835Z" 2/19/2026, 12:16:41 PM
model"openai/gpt-5-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency4169
moderation_latency(null)
generation_time139547
tokens_prompt4618
tokens_completion4858
native_tokens_prompt4131
native_tokens_completion5243
native_tokens_completion_images0
native_tokens_reasoning2048
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"
usage0.05759375
router(null)
provider_responses
0
endpoint_id"7c2f859a-7890-4e8e-b1de-1cd1c0a800b4"
id"resp_0e35856b85381a82016996ff29eee08195b3f2f442f932ad58"
is_byokfalse
latency169
model_permaslug"openai/gpt-5-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771503401-DImiqWjVBTy1EcjYeCIu"
upstream_id"resp_0e35856b85381a82016996ff29eee08195b3f2f442f932ad58"
total_cost0.05759375
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
totalTags0
98.06% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2574
totalAiIsmAdverbs1
found
0
adverb"softly"
count1
highlights
0"softly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
88.34% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2574
totalAiIsms6
found
0
word"traced"
count2
1
word"perfect"
count1
2
word"charm"
count1
3
word"flickered"
count1
4
word"tracing"
count1
highlights
0"traced"
1"perfect"
2"charm"
3"flickered"
4"tracing"
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
narrationSentences297
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount2
narrationSentences297
filterMatches
0"know"
hedgeMatches
0"tended to"
1"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences297
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen31
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2572
ratio0
matches(empty)
0.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions52
unquotedAttributions51
matches
0"I always hated that you did this, she said."
1"Still there, she said."
2"Long time, Miss Carter, Eva said."
3"I found your flat once, she said."
4"You could have come to the bar, I said."
5"You left, I said."
6"I drove you here, she said."
7"He hit you twice after that, she said."
8"Ask, I said."
9"Not yet, she said."
10"You cut your hair, I said."
11"How long clean, I said."
12"Long enough to get through this drink without shaking, she said."
13"Miss, he said."
14"I am not bleeding, she said."
15"Blood is an honest nuisance, he said."
16"Who is the museum curator, she said."
17"Two of us, she said."
18"You kept the scar, she said."
19"All right, she said."
20"Do any of those men owe you, she said."
21"They are all dead, I said."
22"So are we, she said."
23"Evan is not the one who broke me, she said."
24"Me, she said."
25"I came tonight because someone said your name out loud in a room where it should not exist, she said."
26"What I heard is that someone is coming to collect a favour you do not know you owe, she said."
27"You should go, I said."
28"No, she said."
29"We are going in the back, I said."
30"You still prefer rooms with one door, she said."
31"Sit, Silas said."
32"You are the Eva who lived in a Vauxhall Astra, Silas said."
33"An old file, I said."
34"A human memory, he said."
35"No, she said."
36"Yes, he said, and brought it anyway."
37"Talk, Silas said."
38"A man named Kerr, she said."
39"And you followed him to repay a wrong, Silas said, or to create one."
40"Do not patronise me, she said."
41"He knows the names you use when you want to be other than Aurora, she said."
42"Who told him, I said."
43"London is a sieve, she said."
44"You came here knowing you might lead him, I said."
45"I came here because I already led him somewhere I did not like and I wanted him to lose interest, she said."
46"You flatter, he said."
47"I do not prefer surprises, Silas said softly."
48"Do you keep a back door in the back room, I said."
49"All right, she said."
50"He is here, he said."
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions90
wordCount2572
uniqueNames27
maxNameDensity0.93
worstName"You"
maxWindowNameDensity2.5
worstWindowName"You"
discoveredNames
Miss2
Carter2
Eva13
Africa1
Portuguese1
Wales1
Rory2
Raven2
Nest1
Queen1
Blackwood1
Ellis1
Welsh2
Malphora2
Laila1
Evan2
Silas16
Baedeker1
Vauxhall1
Astra1
Kerr1
Carr1
Soho1
Aurora1
You24
Do5
One3
persons
0"Miss"
1"Carter"
2"Eva"
3"Rory"
4"Raven"
5"Nest"
6"Queen"
7"Blackwood"
8"Ellis"
9"Laila"
10"Evan"
11"Silas"
12"Carr"
13"You"
14"One"
places
0"Africa"
1"Wales"
2"Vauxhall"
3"Soho"
4"Do"
globalScore1
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences188
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.389
wordCount2572
matches
0"not to invite attention, but to invent a border"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount4
totalSentences297
matches
0"hated that you"
1"taken that sound"
2"make that sound"
3"is that someone"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs170
mean15.13
std18.24
cv1.206
sampleLengths
07
142
273
35
48
525
69
76
85
938
104
111
1255
136
145
154
161
1783
186
197
201
2135
2232
232
247
2526
2631
279
284
293
3024
314
326
334
3413
3534
363
3713
385
392
402
418
423
4336
443
454
4688
474
484
495
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences297
matches
0"been hollowed"
1"are supposed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs504
matches
0"was throwing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences297
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2574
adjectiveStacks0
stackExamples(empty)
adverbCount61
adverbRatio0.0236985236985237
lyAdverbCount7
lyAdverbRatio0.0027195027195027195
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences297
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences297
mean8.66
std6.03
cv0.697
sampleLengths
07
17
214
321
414
513
614
713
89
910
105
115
123
139
146
1510
169
176
185
196
2022
2110
224
231
2415
258
2614
2718
286
295
302
312
321
339
3423
356
3617
3728
384
392
407
411
4210
4311
4414
457
4612
478
485
492
43.27% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats20
diversityRatio0.2996632996632997
totalSentences297
uniqueOpeners89
99.88% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount8
totalSentences267
matches
0"Somewhere near a corner of"
1"Once with the hand, once"
2"Still playing the librarian."
3"Then it returned."
4"All right, she said."
5"Always an overachiever."
6"Light scratched under my ribs."
7"All right, she said."
ratio0.03
28.24% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount128
totalSentences267
matches
0"You still spin the glass"
1"My fingers stopped on the"
2"I looked up and saw"
3"Her coat clung to her"
4"She wore a cropped cut"
5"You grew into those eyes."
6"She laughed without letting it"
7"She reached across and turned"
8"I always hated that you"
9"You never believed in luck."
10"Her hand slid off the"
11"She studied the way my"
12"She traced it in the"
13"He did not invite himself"
14"His hazel eyes took stock,"
15"Her name sat between us"
16"She looked down, laughed into"
17"It never did fit her"
18"I found your flat once,"
19"He had the decency to"
ratio0.479
96.70% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount194
totalSentences267
matches
0"You still spin the glass"
1"My fingers stopped on the"
2"The ice pressed a cold"
3"I looked up and saw"
4"Eva rested her elbows on"
5"Her coat clung to her"
6"The collar had a slick"
7"She wore a cropped cut"
8"A night of sleep had"
9"The space under her cheekbones"
10"You grew into those eyes."
11"She laughed without letting it"
12"A small quiver at the"
13"She reached across and turned"
14"I always hated that you"
15"You never believed in luck."
16"Her hand slid off the"
17"She studied the way my"
18"She traced it in the"
19"Silas paused before us, the"
ratio0.727
56.18% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences267
matches
0"If you are going to"
1"If you want help, you"
2"Because the past finally wrote"
ratio0.011
92.35% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences99
technicalSentenceCount7
matches
0"Eva rested her elbows on the bar as if she had never left it."
1"Her coat clung to her like a promise that had outlived its weather."
2"Behind her shoulder, black and white photographs watched, faces of sailors and girls with perfect lipstick who would have laughed at our seriousness."
3"The men in paint-splattered trousers by the dartboard argued about a bullseye that had never happened."
4"A woman with a red scarf over her hair traced the frame of a photograph with her thumb as if she could rub herself into it."
5"The red-scarved woman laughed, a sudden bright sound, and the dartboard argument died as if someone had pulled the plug."
6"Movement passed outside the secret room, footfalls not belonging to anyone I knew, the rhythm of men who had worn heavy soles most of their lives."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags0
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
89.5451%