Run: 2026-02-19-01KHTXA7FET52CM3GCEE96JVA6

Run Details

Model:
GPT-5
Duration:
4m 7s
Cost:
$0.060930
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
Stop fluttering, you little liar. Aurora pinched the pendant between forefinger and thumb. Heat pulsed against her skin, soft as a breath and out of sync with her heart. The silver chain slid over the pad of her wrist and found the crescent scar like a lover who knew the route in the dark. She stood within a ring of old oaks that pretended to be stones, trunks thick as pillars and bark scored with scars of storms she refused to name. Richmond Park fell away behind her as if she had stepped through a bead curtain. No traffic hum. No foxes screaming at bins. Only the hush of something waiting to be acknowledged. She eased a step forward. Flowers caught the corner of her eye, a little crowd of white and saffron heads peering through shaggy grass. They should not have been open at this hour. She matched each footfall to the slow pump of the Heartstone and let the familiar rhythm of planning settle in, like unrolling greaseproof paper before slicing cake. Observe, test, adjust. Her phone read 22:08 when she checked. No bars, of course. She took a breath that tasted green and sap-sweet and something a fraction sour, like apple left too long on a windowsill. She slid the phone away and listened. Leaves shifted. But not where her eyes said they should. Something brushed her sleeve from behind, then from in front, a double tap that made her arm hair pebble. All right. Not alone. She kept her hands where any watcher could see them and walked. The ground underfoot felt carpet thick. Not spongy. Not crunchy. Not right. Each step met the faintest give, as if roots flexed to accommodate her. A memory nudged, an evening with Eva in the cheap seats at the Richmond Theatre, a dodgy production where the stage floor rippled because the set crew had mislaid a brace. The actors smiled and pretended their feet did not lie. Rory had laughed then, low and helpless, because the lie had been so generous. She did not laugh now. A shape shifted at the edge of vision, an inkblot that snapped into leaf when she looked directly at it. Another moved, rabbit-small, then taller. A slim figure. A stag. A woman. No, a shadow cast by nothing she could find. Her cool, clever mind stacked the wrongness into neat piles. Sounds a beat behind her own. Movement that refused eye contact. Temperature a few degrees warmer where the pendant touched skin. The Heartstone warmed and cooled. Warmed. Cooled. Warmer. A heartbeat between worlds, perhaps. She rolled the chain around her fingers until it tugged, the silver biting into skin to anchor her here. She ran a palm over her jeans to dry the sweat that had gathered and then dug fingers into the back pocket for loose change. Two coins dropped into her hand, a fifty pence and an old penny with a sloppy green smear on the edge. She held the penny, turned it so it winked in the weak light, then pressed metal to oak. The bark hissed very softly, like steam drawn back through a kettle spout. Iron of a sort. Steel under copper. Good enough. The tree’s skin drank the mark and then smoothed it, and when she lifted the coin the faint circle had already faded. Fine. She adjusted. She took a hair tie from her wrist, bright yellow and snagged with tiny broken hairs, and snapped it around a low branch where the bark joined the trunk. She walked a short arc and counted her steps in Welsh to steady herself. Un. Dau. Tri. Pedwar. The numbers slotted into place with the weight of Sunday dinners and homework sheets marked in red by a mother who had never spared softness when clarity did the job better. At count thirty-two she met her own hair tie. It gleamed band-new in a place she had not reached yet. The branch sat a fraction higher. The sap smelled fresher, the cut her nails had left when she fumbled it gone. She glanced down at the screen. 22:08 still. A minute hand that had lost interest. All right then. The pendant beat two quick notes. Her father had called such things tells, movements that betrayed a liar’s nerves. Brendan Carter could sniff out an omission from behind a brief the thickness of a bread loaf, and he had taught his daughter to smile while she told the truth in pieces. She smiled now at the empty Grove and waited. A second footstep fell a half-beat after hers. She stopped. It took one extra step to catch up. It arrived too close. She did not turn. If you can speak, speak now. Silence flowered. She felt it press along her teeth and settle over her tongue like a paper you could not tear. The pendant cooled to a steady hum against her breastbone. She reached up, slid it free of her shirt, and let the little crimson thing hang where any watching eye could admire it. I brought you your dog whistle. That the idea, then? She stepped up to one of the oak columns. Ancient, yes, but alive in a way stone failed to be. The surface under her fingers danced with tiny shivers, ants or sap pulsing, she could not decide. Someone had cut shallow signs into it, years ago or yesterday, fine focus lines that made the bark’s scale slip. She leaned in. The lines did not belong to English. Or Welsh. The longer she stared the more they resembled veins. The double-footfall came again, not trying to mask itself, now that it knew she knew. It mimicked. When she shifted her weight forward, it followed. When she breathed in, it breathed a moment late. She lifted the penny and drew a small circle on the damp earth at her feet. She dug the coin with a firm hand, shallow groove, a ward she had picked up in a book that had set itself on fire after three pages. The ground gave her nothing back except the scent of disturbed soil and the faintly wrong sweetness of crushed wildflower. She stepped inside the ring and stood like a woman in a witness box. An owl floated above her, soundless. She saw it when it crossed the space between two trunks, white wings a brief ghost. It did not bank. It did not move away. It unspooled sideways and rewound. The third time, she did not look up to greet it. A laugh trickled from somewhere ahead, as if water had found a narrow pipe and forced its way through. Child’s laugh. Man’s laugh. Her own voice, cut up and stitched wrong. Very clever, she said. Show me the bit that is supposed to make me cry and we might trade. Leaves rustled. A line of foxgloves nodded in a wind that puckered one side of the clearing and left the other side calm. A moth struck her cheek with a sound like string on a finger and left a dust kiss when she brushed it away. Insects reoriented in the air, then stilled. The ground shifted again. Not much. Enough. The Heartstone flared under her hand. Heat licked along the chain and ran under her skin as if a match had been dragged from collarbone to wrist. She swallowed and tasted metal. A tone rose and sank, almost too low to hear, a bass note that rode her bones. The space between two oaks across the ring thickened. Air turned to water, to glass, to something with weight but no form. It bowed inwards as if pressed by a palm on the other side. The ancient line of the park reeled here, trained over cotton reels and tangled thread. She saw, not saw, a glimpse beyond. Trees that might have been birch if birch bark held bruises. Ground powdered white, not snow, the drift moved upward on a listless current. A shadow at the far end of the not-place shifted and watched her with the same patience as a cat when a mouse forgets the cat exists. Warmth spread out under her shirt, a sun the size of a thumbnail sitting over her heart. It filled her head with an ache. She fought the urge to press the stone into the base of her throat where it would nest and be safe. Instead she curled fists and let the chain bite. The thing at the edge of the portal leaned closer. She kept the word portal off her tongue. Words shaped outcomes. She had learned that in a court once, halfway through a hearing where a judge had taken one stray adjective and written an essay with it. If she named it, she would own it. She preferred to watch it without a leash for another moment. Laila. A voice lifted from the not-place and salted the air. Not her father’s this time. A woman sweet as a lullaby who had never met her. The syllables did not touch her ear. They burrowed through the little bones at the back of her neck and popped into her head like trapped bathwater. That is not my name. The chain tightened of its own accord. It did not choke. It did not strangle. It simply shortened. Each link moved. Each a tiny muscle. Her hand flew up to grab it, quick as a striking adders he had watched on a school trip to the wetlands. The silver felt alive. Malphora, the woman sang. Such a pretty toy for a pawn. Pawn. The old rage rolled over like a tide and receded. She let it go. Anger tightened the world until you walked ten feet and thought you had run a mile. She needed space. She needed angles. She squatted, slow and careful, and dug the point of a house key into the circle line she had scratched in the soil. The key squealed. Sparks prickled and went out. The foul-sweet rose and folded around her tongue again. She felt the ring of earth answer. Not a barrier. A speed bump. Enough to make both sides trip. The double step came again, now heavier, as if it had decided to weigh what her presence cost. It stopped outside the circle, not because it had to, she sensed, but because it enjoyed good manners. If you want it, come take it. A breath stumbled out of her. Not a laugh. An acknowledgement of the line she had chosen to draw. Negotiation time. She gripped the pendant and let her arm fall loose, weighting it like a lure on a clear water line. Two more moths bumped into her throat and died in tiny sighs. The space between the oaks bowed lower. A ripple ran across it, then another. The sound came next, a series of knocks like knuckles on a heavy door, felt rather than heard. The trees around the ring responded, a small tic she would not have noticed if she had not fixed eyes on them. Leaves turned their pale backs to her. The time on her watch read 22:08, then 12:80, then 08:22, then a thin line that meant nothing and everything. She did not swallow. Her mouth had no room. The woman’s voice turned patient. Aurora then. Come home. Odd choice of home, Aurora said. You brought the key. I brought curiosity. The key came with me. Same thing. The wrongness poured into the clearing like water tipped from a cracked bowl. It found the dip of the ring and swirled. When it reached Aurora’s ankles her bones ached with cold that did not belong to temperature. She thought of Cardiff in winter, breath on the air, fingers stiff. This cut different. It moved up through blood instead of over skin. She gritted her teeth and lifted a foot in slow motion. The circle line tugged. The ground wanted her to stand where she had chosen. Something pressed against the other side again. A hand perhaps. A face. The surface whose name she would not speak bulged, rolled, and, with a slick sound, the bulge slid along until it found a weak spot. The Heartstone banged against her sternum and sent a note through her ribs that felt like the point in a song where the chord changed. Her stomach dropped. Behind her, the double step sighed a shoe against earth. She watched the air in front of her thicken and refused to give the thing at her back the first look it wanted. A thread of dark ran from the bulging centre to the ground as if someone had painted a hairline crack in the air and it had turned three-dimensional and wet. It glistened. It did not drip. It ran up. When it touched the lower curve of an oak to the left the bark dented as if a thumb had pressed it hard. Aurora slid one foot along the earth to widen the circle. The chain jerked. The pendant wanted to go forward. Her shoulders shifted to compensate. She used the turn to let her left hand fall into her hoodie pocket by accident. Cold metal met her fingers. She pulled out a small, cheap lighter from the bar upstairs, translucent blue netted with pocket lint. She flicked it. Flame jumped and held. She had always been good with finicky things. You think fire makes you brave, the voice said. The lullaby leaked a smile. I think fire lights a thing’s edges, Aurora said. Makes choices clearer. The woman laughed again, softer, as if she sat across a table and liked the shape of this conversation. The laugh stepped forward. Not nearer. More here. The thin crack in the air widened a finger’s width and showed nothing but grey. Not colour. A lack. Leaves overhead shuddered with a steady beat now. Not wind. A drum that shook the undersides until their paler green showed and held. The owl above unspooled a final time and did not rewind. It hung like a cut-out pinned by invisible wire. The double-footfall at her back shifted its weight. A pressure edged against her spine that had nothing to do with touch, a notice of mass. It waited just outside her circle. It watched for her to flinch and give it an excuse. Aurora raised the lighter and reached it toward the seam in the air. The flame bent in a polite way towards the thing beyond and shortened. Cold turned it blue at the tip. The pendant burned. She did not drop it. She wrapped chain twice around her fist. The links dug in and left their shape, neat little ovals. Her scar shone white. She fed the flame into the crack. The air screamed like a kettle boiled dry. The sound pitched high and then bottomed out into that bass thrum again. The lighter hiccuped and popped and sent a hot lick across her knuckles. She swore under her breath, clipped and unkind. The circle line flared a dull orange and went dark. The crack widened. A hand slid out. It did not belong to a woman or a man. It had too many knuckles, and the nails sharpened to points without curving. Its skin looked like wax left on a radiator too long, blurred and sagging near the edges. It reached, then stopped when it hit the slow place of the circle, and pressed as if testing for give. Behind her, the double-footfall decided the game had run its course and laid a palm on the back of her neck. Cold fingers, firm pressure, and a voice she had sworn she would never hear again breathed in her ear. Rory. Miss me?
created_at"2026-02-19T12:17:07.062Z" 2/19/2026, 12:17:07 PM
model"openai/gpt-5-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency6282
moderation_latency(null)
generation_time246942
tokens_prompt4560
tokens_completion4662
native_tokens_prompt4064
native_tokens_completion5585
native_tokens_completion_images0
native_tokens_reasoning2368
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"
usage0.06093
router(null)
provider_responses
0
endpoint_id"7c2f859a-7890-4e8e-b1de-1cd1c0a800b4"
id"resp_0744ee7a6ea45fd9016996ff43262c819684de224747b8a6d0"
is_byokfalse
latency193
model_permaslug"openai/gpt-5-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771503427-6DjbqNje8sqsgkzeCZIr"
upstream_id"resp_0744ee7a6ea45fd9016996ff43262c819684de224747b8a6d0"
total_cost0.06093
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
94.31% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2638
totalAiIsmAdverbs3
found
0
adverb"very"
count2
1
adverb"softly"
count1
highlights
0"very"
1"softly"
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)
69.67% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2638
totalAiIsms16
found
0
word"pulsed"
count1
1
word"footfall"
count4
2
word"familiar"
count1
3
word"weight"
count4
4
word"silence"
count1
5
word"warmth"
count1
6
word"pawn"
count2
7
word"stomach"
count1
8
word"flicked"
count1
highlights
0"pulsed"
1"footfall"
2"familiar"
3"weight"
4"silence"
5"warmth"
6"pawn"
7"stomach"
8"flicked"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"stomach dropped/sank"
count1
highlights
0"stomach dropped"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences279
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount1
narrationSentences279
filterMatches
0"watch"
1"think"
hedgeMatches
0"tended to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences279
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen32
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2625
ratio0
matches(empty)
0.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions3
matches
0"When she breathed in, it breathed a moment late."
1"Very clever, she said."
2"Odd choice of home, Aurora said."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions30
wordCount2625
uniqueNames14
maxNameDensity0.27
worstName"Aurora"
maxWindowNameDensity1.5
worstWindowName"Aurora"
discoveredNames
Park1
Heartstone4
Eva1
Richmond2
Theatre1
Welsh2
Sunday1
Carter1
Grove1
English1
Aurora7
Cardiff1
Leaves4
Cold3
persons
0"Heartstone"
1"Eva"
2"Carter"
3"Aurora"
4"Leaves"
5"Cold"
places
0"Park"
1"Richmond"
2"Welsh"
3"English"
4"Cardiff"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences168
glossingSentenceCount3
matches
0"felt like the point in a song where the"
1"looked like wax left on a radiator too lo"
2"as if testing for give"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2625
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences279
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs72
mean36.46
std30.16
cv0.827
sampleLengths
05
1109
263
369
44
592
65
772
8118
922
103
1178
1241
1315
143
1560
1622
174
186
1954
2010
2178
2234
2378
2447
2531
2619
2760
286
2943
30108
3154
3266
331
3453
355
3651
3711
3837
3959
4036
417
4241
4312
4461
4520
469
479
486
494
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences279
matches
0"been open"
1"is supposed"
2"been dragged"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs460
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences279
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2638
adjectiveStacks0
stackExamples(empty)
adverbCount73
adverbRatio0.027672479150871874
lyAdverbCount5
lyAdverbRatio0.0018953752843062926
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences279
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences279
mean9.41
std7.28
cv0.773
sampleLengths
05
18
216
325
428
515
63
75
89
95
1019
119
1227
133
147
154
1622
177
182
198
2019
212
222
2312
246
252
262
272
2813
2931
3010
3114
325
3320
345
353
362
372
389
3910
406
415
4210
435
441
451
461
475
4819
4925
36.74% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats37
diversityRatio0.2867383512544803
totalSentences279
uniqueOpeners80
70.62% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences236
matches
0"Only the hush of something"
1"All right then."
2"Very clever, she said."
3"Instead she curled fists and"
4"Such a pretty toy for"
ratio0.021
74.24% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount86
totalSentences236
matches
0"She stood within a ring"
1"She eased a step forward."
2"They should not have been"
3"She matched each footfall to"
4"Her phone read 22:08 when"
5"She took a breath that"
6"She slid the phone away"
7"She kept her hands where"
8"She did not laugh now."
9"Her cool, clever mind stacked"
10"She rolled the chain around"
11"She ran a palm over"
12"She held the penny, turned"
13"She took a hair tie"
14"She walked a short arc"
15"It gleamed band-new in a"
16"She glanced down at the"
17"Her father had called such"
18"She smiled now at the"
19"It took one extra step"
ratio0.364
36.27% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount200
totalSentences236
matches
0"Aurora pinched the pendant between"
1"Heat pulsed against her skin,"
2"The silver chain slid over"
3"She stood within a ring"
4"Richmond Park fell away behind"
5"She eased a step forward."
6"Flowers caught the corner of"
7"They should not have been"
8"She matched each footfall to"
9"Her phone read 22:08 when"
10"She took a breath that"
11"She slid the phone away"
12"Something brushed her sleeve from"
13"She kept her hands where"
14"The ground underfoot felt carpet"
15"Each step met the faintest"
16"A memory nudged, an evening"
17"The actors smiled and pretended"
18"Rory had laughed then, low"
19"She did not laugh now."
ratio0.847
63.56% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences236
matches
0"If you can speak, speak"
1"If she named it, she"
2"If you want it, come"
ratio0.013
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences109
technicalSentenceCount4
matches
0"She took a breath that tasted green and sap-sweet and something a fraction sour, like apple left too long on a windowsill."
1"Something brushed her sleeve from behind, then from in front, a double tap that made her arm hair pebble."
2"Her father had called such things tells, movements that betrayed a liar’s nerves."
3"A thread of dark ran from the bulging centre to the ground as if someone had painted a hairline crack in the air and it had turned three-dimensional and wet."
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
88.1805%