Run: 2026-02-19-01KHTXAFB1TSEETXWWZAYKSFY3

Run Details

Model:
GPT-5.1
Duration:
2m 28s
Cost:
$0.055110
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
Rory hit the fourth oak at a run and the bark shuddered under her palm. She snatched her hand back as if she had touched hot metal. The trunk did not move again. It stood straight and harmless, part of the rough ring of ancient oaks that hid this pocket of Richmond Park from anyone without the right kind of bad ideas. Her breath misted in front of her face, too fast and too loud. The silver chain at her throat bit into the back of her neck as the pendant swung free, the small crimson stone knocking against her sternum with an eager little tap, tap. She curled her fingers around it to keep it still. The stone pulsed once against her skin, warm as a live coal. She froze. Nothing else moved. No foxes in the bracken. No distant traffic hum. No late jogger cursing at a twisted ankle. Even the far-off city roar, the familiar ocean of engines and drunk shouts, cut off at the ring of trees like someone had closed a door. Her fingers tightened on the pendant. Someone had texted an hour ago, a number she did not know, a message as blunt as a threat. Come to the grove. Midnight. Bring the stone. Come alone. She had nearly deleted it. Nearly turned her phone off, made tea, gone back upstairs to her cramped room above Silas's bar, and pretended nothing in her life counted as unusual. Then the Heartstone had woken in its box, heat seeping through cheap cardboard and tissue like something buried and restless. So here she stood. Her trainers sank into leaf mould, damp and cold. Between the oaks the clearing waited, black on black, a bowl scooped out of the park. The wildflowers that locals raved about when they stumbled on this place glimmered at the edge of her vision, colours flattened by the dark. They should not have bloomed this thick in February. Logic scratched at the inside of her skull. She stepped forward. The city vanished behind her like it had never existed. No sodium glare, no buzz of bulbs, no single distant shout. Just the soft tick of cooling bark and her own footfalls. She swallowed. The Heartstone shifted its rhythm, a second pulse under her own. It beat too slow, like something drowning miles below. Her phone glowed in her free hand. 00:01. It had said that when she passed the second oak. And the third. And when she stopped to breathe, counted to fifty, and checked again. 00:01. She locked the screen and shoved the phone into her pocket as if that would fix anything. A branch creaked above her, long and low, like someone dragging a bow across a cello string. The sound prickled along her arms. She tipped her head back. The branches knitted together high overhead, a tangled ceiling. Nothing moved among them. No perched crows, no restless squirrels. The leaves whispered without wind. She smelled wet earth and green things crushed underfoot. Under that, faint and sharp, copper. Like a nosebleed starting. Her jaw set. She cleared her throat. "All right then," she said. Her voice walked out into the clearing and went nowhere, as if the trees sucked the sound down and chewed it. "You got me here. Where are you?" Silence folded over her again. A fly buzzed past her ear, a tiny angry motor. It veered to the left, straight into nothing, and stopped. No body hit her skin. No insect drifted past her face. The sound snapped off mid-flight. The wrongness flowed in behind it, thin at first, like trickling water. Rory eased the pendant out on its chain and let it hang. The tiny crimson stone glowed, dull and steady, as if lit behind smoked glass. It warmed the hollow of her throat. It had never shone like that in her room, in London light. Even when it woke earlier, it had only throbbed once. "You like it here," she muttered. The stone answered with a heavier beat, slow and delighted. Something laughed at the edge of the clearing. Not a person. Not exactly. It sounded too high, like a child gulping air between fits of giggles, thin and breathless. The sound skittered around the trunks, never landing anywhere solid. It did not echo. Echoes needed walls and distance. This noise came from everywhere at once, as if the grove itself remembered laughter and tried to copy it. She turned a slow circle. "That the welcoming committee?" she said. The laughter cut off, as if a hand had closed over a small mouth. Standing stones, people called the oaks here. Old bark split and ridged, bulging out of the ground in crooked circles. Someone in a pub had once mentioned druids and sacrifice over a pint, the way you shared legends to pass the time. She had nodded along. At the time she still thought these pockets belonged to story and tourist boards, not to the kind of creatures that bled when you stabbed them. The trunks loomed in a rough ring, twelve of them, maybe thirteen, no two the same thickness. Their roots ran out like dropped ropes, weaving under leaf litter. As she watched, one of the roots eased further across the soil. Just a fraction. The movement made no sound. The earth did not crack, no leaves stirred, but the root writhed like a slow, pleased snake. Her chest tightened. "No," she said, more to herself than the trees. "That did not happen." The root lay quiet and innocent. She dug her nails into her palm. Escape routes. She picked two gaps between trunks and memorised them. One to her left, narrow, with low hanging branches, the other straight ahead, wider and cleaner. She could sprint. Sprinting solved a lot. The pendant flashed, a brief sharp flare. She stopped thinking about sprinting. The air in the middle of the clearing rippled. Not much. A small shift, as if the space had exhaled. Dark on dark, a faint stripe where the clearing sagged in on itself, the way hot air made a summer road waver. Her eyes strained for detail. Her brain refused to give it. Her hand went to her wrist before she thought about it, thumb tracing the thin crescent scar there, old and pale. She never did that unless she felt cornered. "Right," she said. "This is where the mysterious bastard steps out and explains everything. That is how this goes." She waited. The grove listened. Her own breath grew too loud. Her pulse roared in her ears, and underneath it, that other beat, slower, heavier, woven through like a second drummer. She swallowed. "Rory." Her mother’s voice came from behind her left shoulder, crisp and low and edged with the sharpness of a hundred childhood tellings off. Her spine locked. She did not turn. "Late again," Jennifer Carter said, clear as church bells, close enough to touch. "I told you what happens when you do not listen." Rory stared at the far oak, at a scar in the bark that looked like a knotted fist. Her throat burned. "Nice trick," she said. "Jesus, you things learn quick." Something behind her breathed in. The intake rasped, dry leaves rubbed together. "Turn around, Aurora." Her full name slid over the damp air in that familiar cadence, syllables that had once meant hot tea and plasters, now thick with something else. The voice sounded right, every clipped consonant, every Welsh lilt softened by years in Cardiff classrooms. Her mouth filled with the taste of pennies. Rory let the silence stretch until her fingers relaxed on the pendant. Then she moved. Not the slow, terrified half-turn the grove expected. She shifted two steps to the side, eyes still forward, and sidestepped again until the speaker fell out of her blind spot. Only then did she look. No one stood between the trees. Empty air mocked her. The wildflowers at the base of the nearest oak trembled, though nothing brushed them. Something had stood there, recently enough to disturb fragile stems. The impressions in the leaf mould beside them looked like bare toes, long and narrow and wrong. She met the empty space with a cold, flat stare. "You do better impressions when you stick to goblins," she said. "At least they fetch their own bones." The wildflowers stilled. Somewhere above, wood cracked with a pistol-shot snap. A branch slammed to the ground halfway across the clearing, showering damp mulch. It landed a metre from her boots. Her body flinched on instinct. She drew a slow breath through her nose, tasted the bite of sap and old rot, and let the air out again. "Temper temper," she said. Her voice shook only a little. The Heartstone warmed. Heat seeped into her palm, into the thin skin over her breastbone. The stone’s inner glow thickened, deep crimson clouding and clearing in slow pulses. The rhythm no longer matched either her heart or anything human. It beat to its own measure, like distant machinery. The soil beneath her left foot quivered. Rory froze, weight balanced to move. A faint sound crawled up from the earth. Not the fat chew of worms or the brittle sprint of beetles. A hum. Low and steady, like a far underground train grinding against rails. Mixed under that, thin as a frayed radio signal, came voices. Dozens, hundreds, all layered. Some screamed. Some sobbed. Some muttered in languages she did not know. All sounded muffled, buried, like they spoke through packed dirt. Her stomach turned. She shifted her foot. The hum faded. "Hel," she whispered before she could stop herself. The stories Silas told on slow nights, half drunk over polished wood, edged in from the corners of her mind. Old names, old places where the world thinned and other things pressed up against the skin of it. He had traced one such place with a beer bottle on a napkin map once. Richmond Park. Quiet voice. Do not go alone. She had come anyway. The air cooled against her teeth when she drew in a breath. Her phone buzzed in her pocket, a small frantic shiver. She jumped. Her hand jerked to her jeans, fingers digging for it. She dragged it out, thumb smeared over the cracked screen. No new message icon blinked. No missed call. The battery symbol sat smugly at half. Time read 23:14. She stared. She had watched it tick over to midnight on the bus. She remembered the grainy reflection of her own face in the window and the small glowing numbers above. She remembered thinking, you promised Eva you would stop doing stupid things after dark. The phone vibrated again. Her hand spasmed. She nearly dropped it. The lock screen did not change. The vibration went on, not the intermittent buzz of a call or a text, but a steady low shudder. It crawled up the bones of her hand into her arm, numbing the skin. She turned the phone over. The plastic case looked ordinary. Her thumb found the seam and picked at it. The hum from the ground matched the phone now, in perfect ugly harmony. She closed her fingers around the device until the edges dug into flesh, then opened her hand and let it fall. The phone hit the earth. The hum cut off. For a heartbeat the world held its breath. Then, under the thin layer of leaves where her phone had landed, something knocked, three hard raps from below, like knuckles against a coffin lid. Rory took one step back. The pendant flared in her hand, bright enough to cast a feverish smear on her knuckles. It felt heavy, leaden, like a solid drop of fresh blood. The warmth shifted towards heat, not burning yet, but close. Her thumb brushed the stone. It answered. Not in words. In sensation. Weight, depth, invitation. The air thickened in her lungs, as if she breathed through wool. Her vision sharpened around the edges of the clearing, every fern frond and wildflower head picked out in mean little detail, while the centre blurred and throbbed with dark. "You brought it back," a voice said. This one did not pretend to be familiar. It came from in front of her, from the soft black wobble where the air bent. It sounded old and smooth and patient, like water that had spent centuries carving its own bed. The words rolled, strange cadence, as if they cared more about the shape of her than the language. Her mouth dried. "I did not bring anything back," she said, lifting her chin. "Someone shoved this into my life and thought I would make a nice delivery girl." "You wear it," the voice said. "It chose skin. It remembers." A shadow flashed across the blurred centre. Not solid, not yet, a ripple with the suggestion of limbs. Rory felt her jaw clench until it ached. "Who are you?" she said. "You opened the gate," the voice said. It ignored her question the way adults ignored children in courtrooms. "You stand in the mouth, little heart. The hungry side listens." "Brilliant," she said, dry. "So I am bait." The laugh slid out of the air, soft and delighted. "The stone knows its work," it said. "Blood to blood. Bone to bone." Under her boots the soil shifted. Not much, not like an earthquake, not like cinema. A small subsidence, like the top layer sagged over a hollow space. The wildflowers around her ankles tilted towards the centre of the clearing, their thin stems bowing. Rory’s body screamed at her to run. Her legs did not move. Because the oaks had closed their ring. Sometime between her stepping through and now, the gap she had chosen, the clean path out, had narrowed. Roots had crept across it, thick and gnarled and patient. The branches reached lower, their crooked fingers interlaced. The other exit, the narrow one, bristled with new-grown twigs that would rake any face that tried to push through. She swallowed. "You did not mention the part where the door locks behind me," she said. "It prefers not to share," the voice said. The centre of the clearing yawned. The blur deepened. Darkness there grew teeth. Not bright cartoon fangs, nothing so simple. This took the form of absence, an aching whisper of shape her eyes struggled to accept. A slight oval hung in the air, ten feet wide at most, an area where the world had been scooped out. Through it, she saw nothing. Not black. Nothing. The pendant burned against her palm. Her fingers opened without her consent. The Heartstone slid off her skin, chain snaking after it. It hovered for a fraction above her hand, held in place by no visible force, then drifted, slow and determined, towards the hollow in the air. Her muscles locked. "Stop," she said. The stone did not stop. Heat rolled off it, hot and intense, searing the tiny hairs on the back of her hand as it slipped past. Sweat burst along her spine. The crimson glow filled the centre of the clearing with sick light, painting bark and leaves in shades of fresh meat. The voices under the ground rose. They howled now, full throat, urgent and wild. The sound passed through her soles, through tibia and femur, rattling her teeth from the inside. She lunged. Her fingers closed around empty chain. The Heartstone floated a foot beyond her outstretched hand, crimson gleam aimed at the waiting hollow in the air like the point of a spear. The voice in front of her sighed, pleased. "It remembers," it said. "It hungers." The air behind Rory stirred. No breeze. A pressure. A presence walking up quiet, careful, on feet that did not disturb leaves. Cold breath touched the back of her neck. A palm settled against her bare wrist, right over the thin white crescent of the old scar, and squeezed.
created_at"2026-02-19T12:17:15.116Z" 2/19/2026, 12:17:15 PM
model"openai/gpt-5.1-20251113"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency17374
moderation_latency(null)
generation_time148142
tokens_prompt4560
tokens_completion4951
native_tokens_prompt4064
native_tokens_completion5003
native_tokens_completion_images0
native_tokens_reasoning1621
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"
usage0.05511
router(null)
provider_responses
0
endpoint_id"764eb97f-8bab-4326-b29b-7a8799b00a70"
id"resp_0a37fb709cb2fef6016996ff4b35e08190ad11d82f398d3223"
is_byokfalse
latency166
model_permaslug"openai/gpt-5.1-20251113"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771503435-KbXhXrjb64hsyeI0FOfw"
upstream_id"resp_0a37fb709cb2fef6016996ff4b35e08190ad11d82f398d3223"
total_cost0.05511
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
totalTags21
adverbTagCount0
adverbTags(empty)
dialogueSentences35
tagDensity0.6
leniency1
rawRatio0
effectiveRatio0
98.12% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2665
totalAiIsmAdverbs1
found
0
adverb"smugly"
count1
highlights
0"smugly"
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)
49.34% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2665
totalAiIsms27
found
0
word"pulsed"
count1
1
word"familiar"
count3
2
word"pulse"
count2
3
word"silence"
count2
4
word"throbbed"
count2
5
word"echo"
count1
6
word"echoes"
count1
7
word"loomed"
count1
8
word"tracing"
count1
9
word"lilt"
count1
10
word"trembled"
count1
11
word"quivered"
count1
12
word"weight"
count2
13
word"stomach"
count1
14
word"traced"
count1
15
word"vibrated"
count1
16
word"perfect"
count1
17
word"warmth"
count1
18
word"whisper"
count1
19
word"determined"
count1
20
word"searing"
count1
highlights
0"pulsed"
1"familiar"
2"pulse"
3"silence"
4"throbbed"
5"echo"
6"echoes"
7"loomed"
8"tracing"
9"lilt"
10"trembled"
11"quivered"
12"weight"
13"stomach"
14"traced"
15"vibrated"
16"perfect"
17"warmth"
18"whisper"
19"determined"
20"searing"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences281
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount3
narrationSentences281
filterMatches
0"look"
hedgeMatches
0"tried to"
1"tend to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences295
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
totalWords2660
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions23
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions26
wordCount2489
uniqueNames11
maxNameDensity0.36
worstName"Rory"
maxWindowNameDensity1
worstWindowName"Heartstone"
discoveredNames
Richmond2
Park2
Silas2
Heartstone5
February1
London1
Carter1
Rory9
Welsh1
Cardiff1
Eva1
persons
0"Silas"
1"Heartstone"
2"Carter"
3"Rory"
4"Eva"
places
0"Richmond"
1"Park"
2"February"
3"London"
4"Cardiff"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences167
glossingSentenceCount2
matches
0"looked like a knotted fist"
1"looked like bare toes, long and narrow an"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.752
wordCount2660
matches
0"not the intermittent buzz of a call or a text, but a steady low shudder"
1"not burning yet, but close"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences295
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs159
mean16.73
std17.47
cv1.044
sampleLengths
015
192
210
312
42
546
66
719
810
951
104
1166
123
1332
142
1520
168
1725
181
1917
2023
215
2224
2319
243
254
2633
275
2836
2912
3055
316
3210
338
345
3554
365
376
3814
3972
4065
413
4213
436
447
4534
467
475
489
4944
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences281
matches
0"been scooped"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs414
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences295
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2494
adjectiveStacks1
stackExamples
0"drunk over polished wood,"
adverbCount68
adverbRatio0.0272654370489174
lyAdverbCount11
lyAdverbRatio0.004410585404971933
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences295
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences295
mean9.02
std6.33
cv0.702
sampleLengths
015
112
26
329
413
532
610
712
82
93
105
114
128
1326
146
1519
164
171
183
192
205
2126
2220
234
249
2516
2624
279
288
293
3010
3111
3211
332
3411
359
367
371
3810
393
4012
411
4217
4317
446
455
469
474
486
495
40.10% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats29
diversityRatio0.25597269624573377
totalSentences293
uniqueOpeners75
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount10
totalSentences243
matches
0"Even the far-off city roar,"
1"Nearly turned her phone off,"
2"Then the Heartstone had woken"
3"Just the soft tick of"
4"Just a fraction."
5"Then she moved."
6"Only then did she look."
7"Somewhere above, wood cracked with"
8"All sounded muffled, buried, like"
9"Then, under the thin layer"
ratio0.041
83.37% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount83
totalSentences243
matches
0"She snatched her hand back"
1"It stood straight and harmless,"
2"Her breath misted in front"
3"She curled her fingers around"
4"Her fingers tightened on the"
5"She had nearly deleted it."
6"Her trainers sank into leaf"
7"They should not have bloomed"
8"She stepped forward."
9"It beat too slow, like"
10"Her phone glowed in her"
11"It had said that when"
12"She locked the screen and"
13"She tipped her head back."
14"She smelled wet earth and"
15"Her jaw set."
16"She cleared her throat."
17"Her voice walked out into"
18"It veered to the left,"
19"It warmed the hollow of"
ratio0.342
71.11% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount189
totalSentences243
matches
0"Rory hit the fourth oak"
1"She snatched her hand back"
2"The trunk did not move"
3"It stood straight and harmless,"
4"Her breath misted in front"
5"The silver chain at her"
6"She curled her fingers around"
7"The stone pulsed once against"
8"Nothing else moved."
9"Her fingers tightened on the"
10"Someone had texted an hour"
11"She had nearly deleted it."
12"Her trainers sank into leaf"
13"The wildflowers that locals raved"
14"They should not have bloomed"
15"Logic scratched at the inside"
16"She stepped forward."
17"The city vanished behind her"
18"The Heartstone shifted its rhythm,"
19"It beat too slow, like"
ratio0.778
41.15% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences243
matches
0"Even when it woke earlier,"
1"Because the oaks had closed"
ratio0.008
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences105
technicalSentenceCount6
matches
0"She snatched her hand back as if she had touched hot metal."
1"It stood straight and harmless, part of the rough ring of ancient oaks that hid this pocket of Richmond Park from anyone without the right kind of bad ideas."
2"The tiny crimson stone glowed, dull and steady, as if lit behind smoked glass."
3"Her full name slid over the damp air in that familiar cadence, syllables that had once meant hot tea and plasters, now thick with something else."
4"It sounded old and smooth and patient, like water that had spent centuries carving its own bed."
5"The other exit, the narrow one, bristled with new-grown twigs that would rake any face that tried to push through."
77.38% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags21
uselessAdditionCount2
matches
0"she said, more to herself than the trees"
1"she said, dry"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags21
fancyCount2
fancyTags
0"she muttered (mutter)"
1"she whispered (whisper)"
dialogueSentences35
tagDensity0.6
leniency1
rawRatio0.095
effectiveRatio0.095
91.8196%