Run: 2026-02-19-01KHTXEVS29PR8BJ26FH023MH7

Run Details

Model:
GPT-5
Duration:
2m 36s
Cost:
$0.058706
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
The wine glass slid as I pivoted with the tray, tipped like a coin on its edge, then steadied when a hand caught the stem. Rory. My name landed with the weight of a thrown stone. I looked up at a face I had not held in years and did not recognise until the mouth tilted into the old, reckless half smile. "Eva." "So you remember me." "You caught the glass." "You were always terrible at balancing acts." "Only when you turned up." We stood too close by the end of the bar, my elbow brushing her lapel. The tray wobbled again. Silas glanced up from polishing a tumbler without lifting his head, a flick of hazel, a ringed knuckle tapping the oak. The fine grey in his auburn hair made everything in the room feel older by a notch. Eva released the glass and stepped back. The movement brought her into the low amber light. The change hit then, clean and ruthless. Gone was the girl with ink on her fingers and paint on her jeans. In her place, a woman in a tailored black coat with narrow shoulders and a throat bare of jewellery, a sharp British cut to her hair that left her ears exposed. She looked like someone who had learned to walk in carpeted corridors. The only wildness left sat in her eyes, darker than memory, rimmed with a sleepless sheen. "Table or bar," I said. "Pick your battlefield." "Booth," she said. "Far side." "Still a strategist." "I had to be," she said. I slid the tray on to the counter and moved down the line, past the map of Prague with its pinholes and charcoal smudges, the black and white photographs of men in hats with their mouths pinched shut against their secrets. The Nest smelled of lime and old wood, of beer wave and polish. The hum of conversations ducked as we walked. The green neon above the door seeped in and made islands of light on the floor. Eva walked like someone expecting a collision, hands free, eyes working. Every near-touch with a stranger sent a flick of distance across her face. We slid into the corner booth. The leather creaked. A photo of Fleet Street hung crooked above her head, a war of typewriters and hats. Silas sent a drink with a nod through a boy with sleeves rolled to his forearms. He didn't ask what we wanted. Two short whiskies arrived, glasses square as knuckles. Eva looked at them without moving. "You on the wagon?" I said. "I audit wagons for a living," she said. "Water." "She's gone posh," I said to the boy. "Water for the corporate citizen." He left with a grin that did not fit his face yet. Eva rested her hands on the table. No ring. Fine tremor in the left hand, barely there, a moth on a string. "I came to say sorry," she said. "No hello, no how are you, just an apology you rehearsed in a cab," I said. "I stood on Dean Street for ten minutes," she said. "I almost left." "You told me to come to London," I said. "Remember that. The call at midnight. 'Pack a bag, Rory. Do not tell him. Come tonight. I'll meet you at the station.' You didn't show." "I watched you get on the coach," she said. "I watched from the barrier." "Were you hiding under a hat." "I was hiding behind a man who would not let me move." I touched the small crescent scar on my left wrist before I could stop the hand. It itched when I felt trapped. She watched the movement, and something in her mouth softened, a flinch you would miss if you blinked. "You were there that day," I said. "The swing set." "You bled like a saint," she said. "I used my T-shirt for a bandage. White with blue stripes." "Your mother told me to be more careful," I said. "She looked at me like she'd caught me stealing." "She was better at Latin than love," she said. "Do you live upstairs." "For my sins." "So I found you where I left you." "You didn't leave me," I said. "You ran faster." She did not pick up the whiskey. She reached into her coat and took out a card. I watched her move. Everything tidy. The card had her name and the name of a firm with a lobby of glass and men in suits who wear serious watches. I did not take it. "Compliance," she said. "Internal investigations." "Corporate snitch," I said. "The word is 'counsel,'" she said. "It's a living." "It is a good living if you do not think too hard about the people who drown," I said. "Everyone drowns," she said. "Some of us wear better shoes when we do." "Still poetic when cornered," I said. "Tell me why you are here, Eva." She held my eyes and did not blink. "I did not come to play old games." "Shame," I said. "I liked those games. You cheated with a straight face." "I came to tell you something you do not want to hear," she said. "I owed you that at least." "Talk." "Evan is back in London." The air thinned in my mouth and went sharp as penny vinegar. The whiskey smelled heavy, a winter coat. "I thought he was up Chester way," I said. "I thought he left after... after." "After you ran," she said. "After you stood behind a man who would not let you move," I said. Her jaw worked once, then stilled. "The firm took on a client last year," she said. "Property. Shell companies. A man in the middle who calls himself a fixer. I found your name in a due diligence folder, a photograph from outside your restaurant in Chinatown two months ago. The men I work for like to know where their liabilities drink. I closed the file and told myself it was nothing." "So you saw me and stamped it with 'nothing,'" I said. "I told myself that," she said. "It helps you sleep when you name the wolves." "How did you get from telling me to come to London to watching me on a CCTV printout," I said. "I took a job," she said. "My mother got sick. The rent went up. The old ideals did not pay the pharmacy. You know how the story plays." "I know how stories are told to make the teller feel clever," I said. "I did not come here to be forgiven," she said. "I know your father would insist on a hearing. I do not want one." "My father would ask for evidence," I said. "Royal Courts style. He would point at the burden and call it yours." "The burden is mine," she said. "Evan knows you are in London. He asked about a bar in Soho. He asked about the man who owns it." We both looked across the room. Silas stood at the till, one hand on a stack of notes, the silver signet ring catching the amber light. He felt the look, because he lifted his head, made a small gesture toward the back like the effortless wave of a conjurer. "He has long arms," she said. "Silas," I said. "Not Evan." "I know who you mean," she said. "How does Evan know about the Nest." "The man who pays me hired a man who owes a man a favour," she said. "Names in a ledger. A chain you can pull until your arms go numb. Your bar sits on routes. People meet here. Some of them do not go home." "I bring prawn chow mein to men who forget to look up from their desks," I said. "You make me sound like a keystone." "Do not be naïve," she said. "You were never good at it." "Say the bit you have not said," I said. She looked down. Her nails were neat and pale and squared off like little documents. She put both hands flat on the table. The tremor in the left hand returned. "The man who would not let me move," she said. "It was not a lover. It was a handler." The room went quiet without moving. The jukebox at the back clicked as if it had swallowed a coin. "MI5," I said. "Not all acronyms carry weight," she said. "It was a little unit that watched bigger units eat. They wanted Evan and the men he ran with. They used me, because I could get you to move." "And you did," I said. "And then you left me at a coach station with a suitcase and a number that never picked up." "I picked up, Rory," she said. "He was on the line. He listened. I bought your silence with mine." "You could have told me," I said. "He would have cut my life to ribbons," she said. "He could still do it. He does not need a warrant to destroy a person. He needs a phone and a helpful clerk." "And now you sit in my bar and talk like a witness," I said. "You do not get to be both." "I cannot be anything else," she said. "Look, I can offer this much. Do not go back to your flat tonight. Do not walk alone. If Silas has a room you can use that does not have a window, use it." "You heard what he is called," I said. "Spymaster. He is not famous for his curtains." "The walls here keep stories," she said. "Yours would be safe for one night." "Why come now," I said. "Why not write a letter. Why risk being seen." I let the last word sit there. It was a lit match. She watched it burn. "He told someone to follow you," she said. "A boy on a scooter waiting outside the Golden Empress. A woman with a good coat who never chose a drink. They are not his only eyes. He wants to see if you will run to anyone. He wants to see who catches you." "So do not catch me," I said. "Too late," she said. "I already reached." "How did you even know I was here," I said. "Old habit," she said. "I turned a corner and walked into the past. I hate London for that." "London returns your things when you stop wanting them," I said. She reached for the water when it arrived and did not drink. She touched the rim with her finger. The tremor steadied. She did not look at Silas when he came to our table, because she knew what you do in rooms like this. "Ladies," he said. "Is the whiskey wrong, or are we pretending to abstain so we can leave fast." "I cannot drink until I leave," Eva said. "An honest liar," Silas said. "You always knew where to find them, Rory." "Eva used to know how to pick locks," I said. "Now she picks firms." "Everyone improves," Silas said. He leaned on the back of the bench with his good leg angled just so, the bad one hidden in the shadow. The signet ring made a soft click against the wood. "We have company." "Now," I said. "Two in suits with a fold you do not buy on the high street," he said. "One by the door with a phone he does not intend to answer. They have not decided if they are thirsty." "How did they find me this quick," Eva said. Her voice shrank, clipped down to its skeleton. "You arrived like a flare," Silas said. "People see things. They tell me. I listen. You have a good coat and a bad conscience. It screams." "I can leave," she said. "No," I said. "We go to the back," Silas said. "Walk like you own shares." We slid out of the booth. The move returned me to the bar's body, the shoulder brushes, the heat of pints pulled, the faint citrus where the lime skins stacked. The floorboards gave back a low moan. On the walls, the old maps held routes my feet knew by instinct, grey rivers and pale roads with names like scars. A black and white photograph near the toilets showed a woman staring at a man who stared past her. I had always liked that one. The bookshelf at the far end looked like a statement piece, mismatched spines that hid the hinge. Silas reached up and took down a battered green atlas with Wales in big letters. The shelf gave a small sigh and eased out. Cold air kissed my knuckles as the seam opened. He moved like it was practice, every step the same length, every breath the same size. "How many times have you done this," Eva said. "Enough that I can do it with a drink in my hand," he said. We slipped into the narrow corridor. The wood smelled of dust and old glue. A low light showed a room at the end with a table and two chairs and a kettle that had seen worse years than ours. Photographs lined this corridor too, but these were private, faces without frames, corners curled. A man with blood on his shirt looking straight at the camera as if he had decided not to blink ever again. A child holding a paper crown. Prague, I thought, though I had never been. "Rory," Silas said. "Tell me you did not invite this." "She found me," I said. "She always did," he said. "I do not need an inquest," Eva said. "I need a door that locks." "We lock from the inside," Silas said. "But nothing truly locks in this city." He closed the shelf behind us. The green neon bled slightly through the crack like sea light. The low room swallowed our shapes. I felt the bar's hum through the boards. My heart tried to keep time. "You are safe for a breath," he said. "One breath," I said. "Make it count," he said. Eva stood in the centre of the room and lifted her hands as if about to show proof. The tremor had gone. She looked at the kettle as if it were a relic. "I do not know if I came to warn you or to be seen doing it," she said. "Both things taste the same in my mouth." "I will brew," Silas said. He moved to the corner where an old plug sat in an older socket. He made everything ordinary on purpose. It was a trick I recognised. Something clicked on the other side of the shelf. Not the soft click of a mislaid coin. The wet, toothy sound of a key that should not fit finding a way to fit. The little hairs along my arms rose like the sea before a ferry passes. "Visitors," Silas said. He did not look at the shelf. He took his hand off the kettle and let it hang, as if checking his wrist. The signet ring caught the low light. He curled that hand into a fist that would not show a shake even if it wanted to. "You cannot be serious," Eva said. She moved a step back and met the table with her thighs. The old wood groaned. "Shh," I said. Breath held. The corridor murmured as if someone spoke into their sleeve. Then the shelf jerked hard. The hinge made a noise like a bone coming out of place. A strip of bright bar light knifed through, thin and white. I saw a sliver of a face in it, an eye that did not blink, a man in a suit whose tie had a pattern too tight to be chosen by himself. The wood split upward with a sound like a snapped oar. "Now," Silas said. We turned as the shelf blew inward and the hidden door stopped being a secret at all.
created_at"2026-02-19T12:19:38.922Z" 2/19/2026, 12:19:38 PM
model"openai/gpt-5-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency9571
moderation_latency(null)
generation_time156419
tokens_prompt4618
tokens_completion4877
native_tokens_prompt4131
native_tokens_completion5815
native_tokens_completion_images0
native_tokens_reasoning2432
native_tokens_cached4096
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.05870575
router(null)
provider_responses
0
endpoint_id"7c2f859a-7890-4e8e-b1de-1cd1c0a800b4"
id"resp_0e246093b6c2c54b016996ffdaffd881959266f57d644b3e91"
is_byokfalse
latency163
model_permaslug"openai/gpt-5-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771503578-vvxtiYsWexKqgeqf0GjJ"
upstream_id"resp_0e246093b6c2c54b016996ffdaffd881959266f57d644b3e91"
total_cost0.05870575
cache_discount0.004608
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags90
adverbTagCount0
adverbTags(empty)
dialogueSentences156
tagDensity0.577
leniency1
rawRatio0
effectiveRatio0
96.24% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2660
totalAiIsmAdverbs2
found
0
adverb"truly"
count1
1
adverb"slightly"
count1
highlights
0"truly"
1"slightly"
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)
92.48% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2660
totalAiIsms4
found
0
word"weight"
count2
1
word"effortless"
count1
2
word"silence"
count1
highlights
0"weight"
1"effortless"
2"silence"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"room fell silent"
count1
highlights
0"The room went quiet"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences200
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences200
filterMatches
0"feel"
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences266
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen55
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2659
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions99
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions32
wordCount1462
uniqueNames9
maxNameDensity0.96
worstName"Silas"
maxWindowNameDensity3
worstWindowName"Silas"
discoveredNames
British1
Prague2
Nest1
Fleet1
Street1
Silas14
Eva10
Wales1
Breath1
persons
0"Nest"
1"Silas"
2"Eva"
3"Breath"
places
0"Prague"
1"Fleet"
2"Street"
3"Wales"
globalScore1
windowScore0.667
71.88% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences96
glossingSentenceCount3
matches
0"looked like someone who had learned to wa"
1"looked like a statement piece, mismatched"
2"as if checking his wrist"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2659
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences266
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs126
mean21.1
std20.56
cv0.974
sampleLengths
025
11
236
31
44
54
67
75
857
996
108
115
123
136
14102
1561
166
179
1813
1934
207
2116
2213
2334
2414
256
2612
2740
2810
2918
3019
3113
323
338
349
3552
365
374
389
3919
4013
4113
4216
4313
4420
451
465
4719
4815
495
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences200
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs298
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences266
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1463
adjectiveStacks1
stackExamples
0"old, reckless half smile."
adverbCount25
adverbRatio0.017088174982911826
lyAdverbCount3
lyAdverbRatio0.002050580997949419
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences266
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences266
mean10
std7.42
cv0.742
sampleLengths
025
11
210
326
41
54
64
77
85
915
104
1121
1217
137
149
157
1614
1731
1812
1916
205
213
223
232
243
256
2641
2713
288
2916
3011
3113
326
333
3416
3516
366
378
386
396
408
411
428
435
4412
457
462
4713
487
4916
37.22% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats34
diversityRatio0.2932330827067669
totalSentences266
uniqueOpeners78
30.86% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences108
matches
0"Then the shelf jerked hard."
ratio0.009
42.22% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount48
totalSentences108
matches
0"My name landed with the"
1"I looked up at a"
2"We stood too close by"
3"She looked like someone who"
4"I slid the tray on"
5"We slid into the corner"
6"He didn't ask what we"
7"I said to the boy"
8"He left with a grin"
9"I touched the small crescent"
10"It itched when I felt"
11"She watched the movement, and"
12"She did not pick up"
13"She reached into her coat"
14"I watched her move."
15"I did not take it."
16"She held my eyes and"
17"Her jaw worked once, then"
18"We both looked across the"
19"He felt the look, because"
ratio0.444
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount100
totalSentences108
matches
0"The wine glass slid as"
1"My name landed with the"
2"I looked up at a"
3"We stood too close by"
4"The tray wobbled again."
5"Silas glanced up from polishing"
6"The fine grey in his"
7"Eva released the glass and"
8"The movement brought her into"
9"The change hit then, clean"
10"She looked like someone who"
11"The only wildness left sat"
12"I slid the tray on"
13"The Nest smelled of lime"
14"The hum of conversations ducked"
15"The green neon above the"
16"Eva walked like someone expecting"
17"Every near-touch with a stranger"
18"We slid into the corner"
19"The leather creaked."
ratio0.926
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences108
matches(empty)
ratio0
79.08% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences56
technicalSentenceCount5
matches
0"In her place, a woman in a tailored black coat with narrow shoulders and a throat bare of jewellery, a sharp British cut to her hair that left her ears exposed."
1"A black and white photograph near the toilets showed a woman staring at a man who stared past her."
2"The bookshelf at the far end looked like a statement piece, mismatched spines that hid the hinge."
3"She looked at the kettle as if it were a relic."
4"He took his hand off the kettle and let it hang, as if checking his wrist."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags90
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags89
fancyCount0
fancyTags(empty)
dialogueSentences156
tagDensity0.571
leniency1
rawRatio0
effectiveRatio0
83.6883%