Run: 2026-02-19-01KHTXHNCD6J44FDYP2HTC0J4H

Run Details

Duration:
56.2s
Cost:
$0.009277
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
Aurora froze with a bag of noodles halfway to the bar, the paper crinkling in her palm. A laugh cut across the room, familiar and wrong, folding the air into a place she knew and did not. She did not move for a count. The woman at the bar turned, and for a second the place lost its edges. A face from childhood had aged into someone she could not place, not at first, then all at once. Eva, the invader of summers, the child who used to climb the church roof with her and dare the pigeons into flight. Eva, leaner, with cropped hair the colour of coal, wearing a suit that stapled her to the present. Eva's mouth twitched. Recognition finished the sentence Aurora did not have the courage to start. Rory, the bar's green sign promised above the door, pinched neon into a halo on the wooden floor. The Raven's Nest kept its lights low, kept memories low too, but they rose now like smoke. She stepped forward, then stalled again, fingers tightening around the takeout handle until the paper bit. The scar on her left wrist kissed leather at the edge of her sleeve, a small crescent moon from a childhood cut that used to be a badge between them. Eva noticed it before she spoke. "You're the one with the wrist?" Eva asked, and the years collapsed into a single, sharp fact, like a coin dropped on stone. "That one." Aurora set the bag down. The noodles steamed a little, the smell of soy and something fried cutting through the bar's stale air. "You look different." "People change," Eva said, and the smile she gave was small, without indulgence. "Or they get better at hiding. Which are you, Rory? Hiding or changing?" Aurora's laugh came out too short. "Neither, I think." Silas slid a glass down the counter the way a chess player moves a piece, casual but precise. He watched them with a patience that could be mistaken for boredom. His signet ring caught the light, silver, the same hand that once closed deals in rooms that did not have names. He did not speak yet, not when the two arcs of their lives were meeting in front of his bar like colliding trains. "So you ran," Eva said. She did not explain what she meant. She did not have to, not really. Eva's office had been where the last of their childhood hopes went to file paperwork: acceptance letters from Cardiff, rent agreements, the small betrayals that gathered like lint. "I left," Aurora corrected, the voice stripped to practical facts, the way she had given statements for reports in other people's lives. "You asked me to, remember? You said leave Evan. You said he was trouble." "You didn’t leave him for long enough." Eva's words were a knife in a thrift shop, dull at the tip but sharp along the shaft. "You ran to London and then you vanished." "I had to get away." Aurora kept her hands visible on the bar. "You were the one who called me." "I did what I could," Eva said. Her Welsh lilt still softened certain consonants, made the hard points gentler. "You left a mess." Silas's fingers made a small, almost invisible motion, and a man by the darts table straightened, listening. Aurora remembered a different kind of leave. She remembered slamming a packed bag into the back of a borrowed car, the way Evan had leaned on the doorframe and promised things—some words that curled round and strangled other words. She remembered Eva's hand on her shoulder then, a kind of passport through. That memory had been clean, an act of salvation in one grey slice of time. The rest had been less clear, documents unfiled, phone calls that stopped. "Did you ever write?" Eva asked. "Sometimes." Aurora's reply sank into the wood of the bar, short as a dropped coin. "Work got in the way. Life did. You know how that goes." "No." Eva's mouth flattened like a drawn curtain. "I do not know how that goes. I stayed. I paid the mortgage. I went to parent's evenings when your name was still on forms. I cut the grass. I told lies to social workers. I told them the two of you were managing, and I told them you would be back. I ran out of lies." The words landed and stayed, heavy. Aurora's chest tightened. She could feel the old guilt like a bruise from a hand she had not looked at in years. "You could have rung," Aurora said, and it sounded like a child making the obvious accusation. "I rang," Eva said. "Once. On a Tuesday. Your number was out of order. Then your mum—" "Don't." Aurora's voice coiled. Someone near the back laughed and Silas's head turned ever so slightly. "Don't make her part of this." Eva's eyes were now, suddenly, very close. "Your mother called me herself once. Said she could not reach you. Said, and I quote, 'Your friend ran off and took all the practicals with her.' Do you know what practicals are, Rory?" "A kettle, a frying pan. Practical things." Aurora's fingers hovered over the noodle bag. She tasted grease and apology. "Practical things," Eva repeated, but the echo was different. "Do you remember the orange scarf? You left it on my windowsill. It was the last of your colours. I passed it to your mother when she came round." Aurora's throat tightened. The orange scarf: a bright arc of eighteen, of promises cut short. She had meant to collect it, to return for everything. Then there had been other things: a flat above a bar in Soho, late shifts delivering food, an ex she had fled, a life she had steadied by the quickness of her breaths. She had not thought to explain. She had thought survival exempted apologies. "You shouldn't have kept things," Eva said, quieter. "Not your keys. Not your debts." She tapped the bar, habitual, like it was a ledger that could be called to account. "You left me funny bills. The council sent men who smelled of metal to ask how we managed. I said we were fine. I said you would be back." Silas cleared his throat the way a metronome clears a room. He put two fingers on the menu and folded them back, a small motion that said, do not make my nights harder than they have to be. "Silas," Eva said abruptly, a question shaped more like a strategy. "Is she on the books? The Nest? Do you know where—" "You know I do not keep lists for fun," Silas said. There was no humor in it, only a gravity that made Aurora feel, for a second, like a captured item on display. "People come in, they leave, they sleep upstairs sometimes. Not my business to catalogue the heart's misbegotten journeys." Eva's jaw worked. Her hands had the steady motion of someone who had learned to fix things with her fingers: unpicking a seam, tightening a hinge. "We all make choices," she said, slower, as if rehearsing. "Some of them are small. Some of them cost lives." Aurora's mouth tasted of vinegar. "Don't be melodramatic." "Don't be evasive." Eva's retort was dry, with a generosity of pain that almost sounded like compassion. "You took a route, Rory. We all took routes. Mine, through Cardiff, stuck with a house that leaks in winter. Yours, through London, with a battered bike and a scar on your wrist. Which one hurts more? I don't know. But it is interesting to see them line up at a bar." "Are you here for me," Aurora asked, "or to accuse me of being selfish for being alive?" Eva's eyes softened, then hardened. "A bit of both," she admitted. "Mostly to see if you had the nerve to look at me. To see if you'd own what you left." Aurora wanted suddenly to take out every piece of her past and show it: eviction notices, the names of people who had slept on her sofa, the bruises that lingered in memory, the stitches she had learned to ignore. "I didn't leave you to suffer," she said. "I left to keep breathing." "Breathing," Eva repeated, and there was no mockery in it, only the distant sound of an old wind instrument being played poorly. "You think breathing cleanses you, Rory. It does not. It rearranges the rooms." Silas watched them like someone watching two prisoners negotiating keys. He moved then, without drama, and poured two whiskeys, amber and purposeful, and set them down with no comment. Aurora accepted hers like a treaty and did not sip. She wanted clarity more than liquid. "Why now?" she asked Eva. Eva laughed, short and brittle. "A funeral," she said. "Your mother's, actually." The word hit with the slow force of a closing door. Aurora felt the floor tilt. She had not seen her mother in years either. The bar's maps and black-and-white photographs blurred. The noodle steam seemed to wreath her head, a halo of judgement. "You could have told me," Aurora said. "Any of you." "I left a message two months ago," Eva said. "It bounced. You are impossible to reach when you do not want to be." Aurora's fingers found the crescent scar under the sleeve and rubbed it, motion as a salve. "I would have come if I'd known." "Would you?" Eva's eyes were sharp, searching for the architecture of a promise. "How far would you have gone? Did you come for your mother or to keep something for yourself?" The bar had become a tribunal. The dart board behind them required a motion of the hand to be forgiven. A couple argued quietly in a corner about sports, the sound like an irrelevant radio. Silas's hand hovered near the bookshelf that hid his quiet room, not yet the fiction of his other life but a real world possibility. His knee clicked faintly as he shifted. There were tools of other trades near him: a folded list, a leather-bound notebook, the faint smell of boot polish. Aurora saw him watch, and felt suddenly raw under a light she had not expected. The Nest offered no mercy; it only reflected. "I left because I thought that would fix things," Aurora said, and the words were less useful than she had hoped. "I thought leaving Evan would be an answer. It wasn't. Answers are not like that." Eva sat back, the suit taking her into a bracket of authority that made her look as if she belonged to a different decade. "Do you know what I told your mother about you the last time she asked?" she said. "No." "I told her you were safe. That you had good people with you. I said you were working in a place that was untidy but honest. I said you smiled." Aurora's throat closed at the memory of being described to her own mother, the theatre of accommodation. "You lied," she said. "I lied to give your mother something to hold," Eva said. "I lied because the alternative was watching her waste in worry." Silence fell like a curtain with a frayed edge. The bar hummed again, like a ceremony resumed. A man at the pool table dropped a cue and cursed under his breath. The owner, a man of quiet measures, tapped a glass and cleared the air once more. Then the door at the far end swung open, not with an apology but with a presence. A voice that belonged to Atlantic storms filled the small room, and with it something else arrived: a shape in a coat too clean for the Nest, a man who carried the smell of new leather and old threats. "Evan," the room said in a dozen small recognitions. Aurora's head snapped up. The noodles she had been holding sloshed and stained the bar's wood. She could not take her eyes off him. He smiled a public smile, the sort that had won arguments and lost beds. A laugh followed him like a hired ghost. "Evan," Eva said, slow as a verdict, and the word was not a greeting. He leaned on the doorway, one hand easing off his coat. The light caught a scar at his temple, the memory of fights and broken promises. He looked at Aurora as if he owned the past like a debt habitually paid and automatically forgiven. "Rory," he said. He did not call her Aurora. He never had. The bar seemed to condense around them. Silas's fingers tightened on a glass until the knuckles paled. Someone at the back stopped drinking. The maps on the wall, faces of strangers in frames, watched. "You found me," Aurora said, and it was a statement that had no triumph in it. Evan's smile widened. "I have been looking," he said. "And, well, people keep talking. The city is small in places." He stepped in further, like a tide, like something inevitable. Aurora's pulse drummed in the small bone of her wrist. She could feel Eva's gaze behind him, sharp as a scalpel. Silas's limp creaked as he shifted his weight, ever ready, the bar owner who once had entire countries move at a word. Evan's eyes flicked to Silas, taking inventory, then to Eva, then back to Aurora. "You got taller," he said, and the words were trivia loaded with accusation. "Has he been following you?" Eva asked, the question not aimed at Evan, but at the air he occupied. Evan's smile didn't falter. "Is that the accusation? Such sweet paranoia. Or is it nostalgia?" Aurora's breath left her like a coin dropped into a well. Something in the room snapped. Glass tinkled as if to mark the moment. Silas's hand slid toward the bookshelf. The hidden back room breathed possibility. The tension in the bar was a taut wire. "Enough," Silas said, and his voice was the one that stopped traffic. "You do not make a nest for old fights in my place." Evan's hand hovered near his pocket. The movement did not go unnoticed. Aurora's fingers tightened on the edge of the counter. The noodles cooled, forgotten. Time had folded in on itself. Old friends were here, and old enemies, and the weight of everything between them had become a living object, visible, heavy. Someone spoke from the corner, the words lost in the sudden quiet. The green neon hummed like a heart under the skin of the room. The maps on the wall seemed to point at points that no longer mattered. Aurora looked at Eva, and the hang of years between them did not answer, it only waited. She looked at Evan, and the past answered with steps. She looked at Silas, and found his hand on the ring, the signet a small promise of decisions to come. Then, very simply, a glass at the next table shattered, the sound sharp as a pistol, and the nearest light went out. The bar tilted into movement. Chairs scraped. The world filled with the small noises of people deciding whether to stay or to run. Evan smiled, raw and patient, and the room tightened like a fist.
created_at"2026-02-19T12:21:10.679Z" 2/19/2026, 12:21:10 PM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2759
moderation_latency(null)
generation_time56060
tokens_prompt4618
tokens_completion4553
native_tokens_prompt4131
native_tokens_completion4554
native_tokens_completion_images0
native_tokens_reasoning1280
native_tokens_cached3840
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"
usage0.00927675
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_02fb1848ab0736530169970036c8648194b75a4573bf8af4e5"
is_byokfalse
latency146
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771503670-4DD4s9cPko6cZo4OEEkj"
upstream_id"resp_02fb1848ab0736530169970036c8648194b75a4573bf8af4e5"
total_cost0.00927675
cache_discount0.000864
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
totalTags42
adverbTagCount2
adverbTags
0"Eva's mouth flattened like [like]"
1"Eva said abruptly [abruptly]"
dialogueSentences77
tagDensity0.545
leniency1
rawRatio0.048
effectiveRatio0.048
86.25% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2545
totalAiIsmAdverbs7
found
0
adverb"really"
count1
1
adverb"ever so slightly"
count1
2
adverb"suddenly"
count3
3
adverb"very"
count2
highlights
0"really"
1"ever so slightly"
2"suddenly"
3"very"
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)
76.42% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2545
totalAiIsms12
found
0
word"familiar"
count1
1
word"lilt"
count1
2
word"could feel"
count2
3
word"echo"
count1
4
word"silence"
count1
5
word"pulse"
count1
6
word"weight"
count2
7
word"flicked"
count1
8
word"tension"
count1
9
word"shattered"
count1
highlights
0"familiar"
1"lilt"
2"could feel"
3"echo"
4"silence"
5"pulse"
6"weight"
7"flicked"
8"tension"
9"shattered"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences164
matches(empty)
90.59% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount3
narrationSentences164
filterMatches
0"feel"
1"watch"
2"look"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences197
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen57
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2541
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions41
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions96
wordCount1861
uniqueNames11
maxNameDensity1.77
worstName"Aurora"
maxWindowNameDensity3.5
worstWindowName"Aurora"
discoveredNames
Aurora33
Raven1
Nest3
Cardiff1
Eva33
Welsh1
Evan8
Silas13
Soho1
Silence1
Atlantic1
persons
0"Aurora"
1"Raven"
2"Nest"
3"Eva"
4"Evan"
5"Silas"
6"Silence"
places
0"Cardiff"
1"Soho"
globalScore0.613
windowScore0.5
90.94% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences127
glossingSentenceCount3
matches
0"sounded like a child making the obvious ac"
1"as if rehearsing"
2"sounded like compassion"
81.94% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords1.181
wordCount2541
matches
0"not yet the fiction of his other life but a real world possibility"
1"not with an apology but with a presence"
2"not aimed at Evan, but at the air he occupied"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences197
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs76
mean33.43
std19.55
cv0.585
sampleLengths
037
196
235
352
423
528
626
79
874
947
1036
1133
1220
1323
1417
1579
166
1727
1865
1928
2016
2117
2222
2341
2419
2538
2670
2759
2838
2922
3051
3146
328
3369
3417
3531
3652
3735
3845
395
4012
4144
4210
4323
4423
4531
4686
4723
4836
4941
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences164
matches
0"being played"
1"being described"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs322
matches
0"were meeting"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount1
flaggedSentences2
totalSentences197
ratio0.01
matches
0"She remembered slamming a packed bag into the back of a borrowed car, the way Evan had leaned on the doorframe and promised things—some words that curled round and strangled other words."
1"The Nest offered no mercy; it only reflected."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1865
adjectiveStacks0
stackExamples(empty)
adverbCount59
adverbRatio0.03163538873994638
lyAdverbCount17
lyAdverbRatio0.009115281501340482
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences197
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences197
mean12.9
std8.54
cv0.662
sampleLengths
017
120
27
315
419
522
618
73
812
918
1017
1116
1230
136
1423
157
1618
173
1813
1913
206
213
2218
2312
2421
2523
265
277
287
2928
3022
3114
3225
338
3413
357
367
3712
384
3917
407
4132
4213
4315
4412
456
4615
4712
488
4957
41.37% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats17
diversityRatio0.2639593908629442
totalSentences197
uniqueOpeners52
68.03% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences147
matches
0"Then there had been other"
1"Then the door at the"
2"Then, very simply, a glass"
ratio0.02
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount35
totalSentences147
matches
0"She did not move for"
1"She stepped forward, then stalled"
2"He watched them with a"
3"His signet ring caught the"
4"He did not speak yet,"
5"She did not explain what"
6"She did not have to,"
7"Her Welsh lilt still softened"
8"She remembered slamming a packed"
9"She remembered Eva's hand on"
10"She could feel the old"
11"She tasted grease and apology."
12"She had meant to collect"
13"She had not thought to"
14"She had thought survival exempted"
15"She tapped the bar, habitual,"
16"He put two fingers on"
17"Her hands had the steady"
18"she said, slower, as if"
19"He moved then, without drama,"
ratio0.238
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount141
totalSentences147
matches
0"Aurora froze with a bag"
1"A laugh cut across the"
2"She did not move for"
3"The woman at the bar"
4"A face from childhood had"
5"Eva, the invader of summers,"
6"Eva, leaner, with cropped hair"
7"Eva's mouth twitched."
8"Recognition finished the sentence Aurora"
9"Rory, the bar's green sign"
10"The Raven's Nest kept its"
11"She stepped forward, then stalled"
12"The scar on her left"
13"Eva noticed it before she"
14"Eva asked, and the years"
15"Aurora set the bag down"
16"The noodles steamed a little,"
17"Eva said, and the smile"
18"Aurora's laugh came out too"
19"Silas slid a glass down"
ratio0.959
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences147
matches(empty)
ratio0
43.65% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences72
technicalSentenceCount10
matches
0"Eva, leaner, with cropped hair the colour of coal, wearing a suit that stapled her to the present."
1"The scar on her left wrist kissed leather at the edge of her sleeve, a small crescent moon from a childhood cut that used to be a badge between them."
2"His signet ring caught the light, silver, the same hand that once closed deals in rooms that did not have names."
3"Eva's office had been where the last of their childhood hopes went to file paperwork: acceptance letters from Cardiff, rent agreements, the small betrayals that…"
4"She remembered slamming a packed bag into the back of a borrowed car, the way Evan had leaned on the doorframe and promised things—some words that curled round …"
5"Her hands had the steady motion of someone who had learned to fix things with her fingers: unpicking a seam, tightening a hinge."
6"Aurora wanted suddenly to take out every piece of her past and show it: eviction notices, the names of people who had slept on her sofa, the bruises that linger…"
7"Silas's hand hovered near the bookshelf that hid his quiet room, not yet the fiction of his other life but a real world possibility."
8"Eva sat back, the suit taking her into a bracket of authority that made her look as if she belonged to a different decade."
9"A voice that belonged to Atlantic storms filled the small room, and with it something else arrived: a shape in a coat too clean for the Nest, a man who carried …"
41.67% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags42
uselessAdditionCount7
matches
0"Eva asked, and the years collapsed into a single, sharp fact, like a coin dropped on stone"
1"Eva repeated, but the echo was different"
2"Eva said, quieter"
3"Eva said abruptly, a question shaped more like a strategy"
4"Aurora said, and the words were less useful than she had hoped"
5"he said, and the words were trivia loaded with accusation"
6"Silas said, and his voice was the one that stopped traffic"
98.05% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags33
fancyCount4
fancyTags
0"Aurora corrected (correct)"
1"Eva repeated (repeat)"
2"she admitted (admit)"
3"Eva repeated (repeat)"
dialogueSentences77
tagDensity0.429
leniency0.857
rawRatio0.121
effectiveRatio0.104
82.2971%