Run: 2026-02-19-01KHTXK2ZD749RCFM93C9PXRCH

Run Details

Model:
GPT-5
Duration:
3m 13s
Cost:
$0.068805
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Thriller 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="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</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> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</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 thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. 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 bookshelf lurched an inch and someone slipped through the gap. Harlow hit it with her shoulder, wood bit her collarbone, and she shoved into the narrow service corridor as a heel scraped brick ahead. Police. The word snapped off her tongue sharp as a baton strike. The figure ahead threw a look over one shoulder, then drove faster, trainers smearing grime. He had a Saint Christopher medallion flashing at his throat. Tomás Herrera. Off-the-books angel to the devils she hunted. She took the turn he took and went low for the choke point, knuckles skimming the wall. He had two strides on her. Three. She cut his line to the rear exit. Stop. Tomás slammed the bar with his hip and punched through into the alley. Cold hit her face along with wet air that tasted of diesel and fried onions. Harlow kept her feet light over the slick cobbles and pushed into the night. He darted under the distinctive green neon glare of The Raven's Nest sign, its bird flickering as if wincing, and veered left. Beyond the alley’s mouth the street churned with cabs and the stagger-step of Soho stragglers. Rain blitzed down in thin knives, turning the pavement into a black mirror that sliced her reflection and stitched it back together with every footfall. Tomás cut across the flow. A bus brayed its horn. He sprang over a bike chain, his left hand skirting a bonnet, his right arm swinging free with the glow of the medallion. Harlow kept the angle, used the bus as cover, then burst past and gained half a stride. Twenty-nine, quick. She matched his rhythm, measured in the metronome tick of her old leather watch against her wrist bone. He glanced back, breath fogging, then tossed words under his shoulder. Leave it, Quinn. She bared her teeth more than smiled. You first. He swore in Spanish and took the next alley without slowing. Harlow cut too late. Her hip clipped a wheelie bin and it bucked. Bottles clattered and something sour spilled over her trousers. She ignored the mess, kicked a crate to stop it rolling into her ankles, and spotted him mounting a low wall headfirst. He rolled over the top clean as a cat burglar. Harlow planted fingers and vaulted after him. They landed in a service lane choked with pallets and cardboard. Oil filmed everything. The rain found seams and ran cold down the back of her shirt. He slid, recovered, then broke right again toward Charing Cross Road. She reached for the radio clipped at her belt, stopped herself. Draw a uniform net and you scare him into ground no one maps. He shot past a kebab shop. Steam roared. Garlic and singed lamb blew into her face and fed heat into her muscles. People flattened against shutters as the pair tore by. A man with a nose ring raised a phone, then thought better. Harlow used the low kerb to give herself a small spring and caught two metres. Tomás risked another look. Warm brown eyes flashed something not quite fear. He feinted toward the crossing, then knifed down the steps toward Tottenham Court Road station. Of course. Harlow took the stairs three at a time and heard the flip-flop of someone in sandals behind her swear at the pace. A busker’s guitar note stretched out thin as wire when she burst through the ticket hall. He jumped a barrier with a hand on the polished top bar. She took the gap to the left and went through the open disabled gate as a family in matching tourist coats fanned out. A toddler wailed. Tomás shouldered a map from someone’s hands and it helicoptered back toward her. It plastered for a second across her chest and face, a wet kiss of paper and too much ink. She ripped it free and grabbed the banister to take the escalator running down. Northbound Northern line. Camden Town. He headed straight for the old bones under the city. Smart. She rode the escalator railless to save time and felt her body hum from the controlled drop. Tomás hit the bottom, curved round a pillar and cut to the far platform. The board blinked, a list of times that meant nothing when your quarry had already committed. A train pulled in with the sigh of a tired animal. Doors yawned. Faces pressed. He slipped inside. Harlow drove into the same carriage as the doors started to close. Her palm flattened on cold glass. For a beat, their eyes levelled, his up the car, her ten bodies away. He shook his head like an older brother warning a younger one off jumping the wall. No, Harlow. She pushed between a pair of students in soaked hoodies and an old man with a folded Evening Standard that smelt of rain. The train jerked and ran. This carriage had the specific stink of London in storms, wet denim, metal, breath, the faint drift of spilled lager. Her wet hair prickled tight to her skull; she had cropped it short enough that it never got in her eyes. She watched Tomás not watch her. Casual. He chose a grab pole with space on either side and did not touch it, a balance learned from nights in ambulances that took turns too hard. Two kids with skateboard helmets eyed her holster. She lowered the edge of her jacket. She kept her voice dead quiet. Herrera. His jaw tightened as if she had pressed a cold coin under his tongue. You have no jurisdiction where I am going, he said. Sounds like a confession. You do not want this. The red smear of the carriage map slid overhead. The tinny announcement lied about delays. Her watch ticked once in her ear, or she imagined it. DS Morris would have made a joke to break the stiffness sitting in her spine. She stood straight instead. The Saint around Tomás's neck winked at the carriage lights and looked, for a blink, like a warning light on an ambulance rig. At Camden Town the doors fanned open. A crush moved to leave, pulled by some tide bigger than them, stalls and canal and music. Tomás moved with it. Harlow moved with him. He took the long way into the tangle of tunnels and followed the signs not for any line but for a service corridor. He did not look back now. A cleaner saw him duck a gate and said nothing. There are kinds of people you do not stop underground. Harlow hopped the low chain and felt grime oil her boots. They ran through a short throat that dead-ended at a steel door with a yellowed Keep Out. He did not go for it. He angled hard into a gap in the brickwork that looked like a shadow and went sideways, spine skim to brick, for two steps. Harlow hit the same narrow-dark sideways and counted those steps like she counted heartbeats while prone with a rifle back when she had to to get the job. The gap opened into a curving stair that dropped into old dust. A hand-painted arrow, small and black, pointed down. Beside it, carved into the brick, bone-white in the strip light’s jaundice, someone had scrimshawed a simple sign: a long-faced bird with a coin in its beak. This was the bit everyone talked about if you knew which drunks to buy beers for. Most of them lied. Some gave half-truths that still made your skin crawl on a hot day. The Veil Market moved like a bad idea and tonight, if rumour ran right, it had nested in the abandoned stretch under Camden. It never met twice in one place except each full moon, because superstition calcifies into protection when enough bodies believe it. Tomás took the steps as if he had taken them sober before. Harlow followed. Her breath held rock steady. A woman met them at the bottom, draped in a threadbare velvet shawl that smelled of old cloves and mothball. Eyes like auger bits. She held a little hinged case in one hand. Inside, under cotton, nestled discs carved from bone. Cow, by the look. Human, if you let your head make trouble. Token, the woman said. Tomás showed his. A thumb-smoothed circle with a crude chevron scratched in. She plucked it from his hand, weighed it on a little set of brass scales Harlow had not noticed sitting on an upturned crate, and nodded. He produced the token’s twin from his other hand and palmed it to the woman. Gratitude money. He believed in tolls. He slipped through a timber frame to the right, where a shelf of dented tins stood. The shelf rolled back. A trick of old masonry and newer greed. Harlow stepped up and the woman lifted the hinge case without looking at her face. Token. Police. The lid clicked shut. The woman smiled with all the warmth of a coin. Not a club that takes your badge. I am not here for company. I am here for a man evading arrest. He will not be a man in there. He will be a customer. Different law. Open it. Bone first, love. Or a left little finger if you have no patience. Her gaze flicked to Harlow's hands. Harlow gave nothing back. She took in the knot of other bodies down here, some wrapped in blankets, some in leather, one in a suit too fine for the rust stains on his shoes. A boy of maybe seventeen held a circle of bone loose in his hand and chewed the inside of his lip. She spoke so the boy heard the low roll of it without thinking she spoke to him. Trading banned goods. Concealing evidence. Aiding a fugitive. Stingy counts for something in court. Being cooperative counts for more. The boy flashed his token then tried to palm it behind him. His eyes kept sliding back to her holster like it magnetised him. Someone’s mum had warned him to avoid coppers who sounded tired and calm. Harlow kept her hands where they were, opened, the tendons up along her knuckles stark with the wet. That token, she said, low. The boy looked at the shawled woman. She pretended blindness. Rules ran the Market, and the rulers had the twitch of gamblers. The boy licked lips that had not yet learned to hide fear. He pressed the disc into Harlow’s damp palm and took without consciousness the twenty Harlow had fished up from her pocket with her other hand, an old habit taught by a training sergeant who believed favours mattered more than force until they did not. You did not get this from me, the boy whispered. From who then. He swallowed, then grinned with terrible slowness. From no one. Good lad. The shawled woman clucked, pleased by the little play that kept order without knives. Harlow let herself breathe once through her nose, shallow. Copper stung. Blood. Not much. Recent. Somewhere beyond the timber frame a knife had misjudged an onion or a vein. She set the bone on the brass dish. The scales dipped, balanced, whispered acceptance. The woman slid the disc back across the crate toward Harlow with two fingers. No steel out, the woman said. No debt left above ground. You break either, you bleed. Intent leaks in that place. It smells worse than old fish when it does. Noted. And your badge stays turned. Harlow covered it with her jacket where it had flashed out by reflex. The leather had taken the worst of the grime and now lifted a sour steam. She tucked the token under her thumb and pressed forward into the space the shelf revealed when the woman hauled on a pulley hidden under frayed velvet. Timber groaned. The shelving rolled. A breath of air coughed out, close and thick with clove, char, damp, and a vinegar tang that made her gums twinge. You do not want this, Tomás had said. She wanted it. She slid into the gap. It closed behind her, muffling the drip from somewhere back in the tunnel and trading it for a murmur with teeth in it. The Veil Market did not look like stories said. It never does. It had the scale of a maze left by a giant drunk on his own sense of mischief. Arches opened on arches. Old tile shone slick in patches, cracked in others, a mosaic of municipal neglect and private commerce. Stalls sprouted in alcoves and against walls, hacked from doors and old booths, dressed with tired fabric and impossible goods. Glass jars held moths that did not flap their wings so much as breathe, a soft inhalation that fogged the glass from inside. Bottles with wax seals leant canted in wooden racks, the liquids inside not quite obeying tilt or gravity, behaving like cat fur stroked the wrong way. A woman in a tweed skirt and the wrong century’s shoes ground something to white paste in a mortar the size of Harlow’s head. A man with half an ear hawked laces not for shoes but for tongues, slick and pink, turning where they lay. Someone sold maps of London with streets she did not recognise looping out from margins as if the paper grew while she looked. Rose heads, said the woman with the mortar without pausing. Good for stubborn habits. Grind slow. Pay faster. Harlow moved. She kept Tomás in the corner of her eye now. He had not sprinted. He walked. He kept the calm of a medic arriving in a scene already spun past panic into numbness. He cut toward a pharmacist’s table cobbled from a door. Plans sat fragile on his face and stalled when he saw her. He set the plan down. He lifted a hand that showed the long scar along his forearm like a road he hated to take again. The Saint lay flat. He pitched his voice for her only. You will not like what I buy in here, Quinn. Pricey then. Or illegal. Both. And necessary. Walk out and I will tell you afterwards over a coffee that you will pretend you do not drink. She held his gaze a second. A seller with rings set with milk-white stones swept a curtsey to a customer with no ears and a freckled brow smooth as a child’s. Harlow took three more steps toward Tomás. He tried one more time. No badge helps you here. No weapon helps you here. Your name helps you less. Do something rare for you. Trust me. She smiled soft and mean. Trust made me a widow. Last man I trusted walked into the dark and never sent a postcard. His jaw went hard at the mention of someone he had read about in reports and heard in the way she walked. He leaned in enough that the smell of disinfectant clung under the warm male soap, the signature of someone who still washed between fingers without noticing. Then do not trust me, he said. Trust what hunts me. If I do not get this dose, Soho will have a street where everyone coughs up their lungs like ribbon tomorrow. I am trying to stitch Arley back together before someone pulls the thread. Arley. The nest. The name slid between them bright as a blade. He watched her face for a flicker. She did not gift him one. Then buy, she said. Slowly. He turned, and the stall holder, an older man with teeth too even and a smile that stopped short of his eyes, placed two small amber vials in a folded cloth while keeping three fingers flat on the cloth like a parent on a child’s shoulder at a crossing. Herrera, the man said, genial. Late as always. The batch yesterday walked quick. They had legs, Tomás said. Bad joke. No laugh. Harlow lifted her hand and the world in the Market turned its head like a flock at a dog’s bark. A breath synchronized so you could hear the hush carry. Eyes did not like police. They liked them even less here. She only wanted Tomás to see her palm, to show it empty. He saw, and something in him softened and then went taut. A bell rang. Not soft. A dull iron gavel hitting iron plate. Once. Twice. Three. The sound rolled under the tiles and around the bowls and through the jars and inside Harlow’s ribs. The seller froze. Tomás did not move. What is that, she said. Price checks, the mortared woman near her said, amused. Or wolves. Three men eased from shadows high on a gantry that used to hold the Victoria line signs. They wore dark coats that looked like a priest’s and a butcher’s apron had made a truce. The middle one carried a long knife with a smile in the blade, a lazy curve that made you look at it before you saw the hand that held it. Their eyes, grey and a little wet, rolled over the crowd until they locked to Harlow like det cords snapping tight. No steel out, the shawled woman had said at the door. The Market held rules. Harlow's Glock weighed her waistband like a secret that wanted its name spoken. The middle man raised his knife an inch, not enough to break the rule yet, enough to declare a thought. Outside law, he said. Inside problem. Tomás shifted his feet a fraction so he stood between her and the blade. He did not touch her. The Saint lay against his chest like a held breath. Quinn, he said, quiet. Do not twitch for the gun. They know me, the middle man said, polite as a maître d’. They will know you by what you do next. Harlow lifted her chin. Left, a pig mask with the fat cleaned out of it hung over a stall like a prize. Right, a radio with its guts ripped still played a song it should not have breathed. Behind her, the entrance had become a flat timber patch in a wall of timbers. No line back looked easy or safe. She hooked her thumb across her belt and did not expose the butt of the Glock. Her other hand opened out to show skin and that damning badge’s bulge under damp leather. Around them, the Market held its breath hard enough to pull in fabric and make candles burn blue. The middle man smiled like water that had not learned to be kind yet. Bone first, he said. Or blood. He tipped his knife toward her wrist where the worn leather of her watch left her pulse bold and certain. Harlow's fingers flexed, the old habit of counting shots without firing any. That leather had measured out a partner's last hour three years back. It ticked now. One. Two. Tomás reached for the vials on the cloth. The seller lifted two fingers, then flattened them again. That hammer bell rapped a fourth time. Somewhere above, a door slammed. Hot wind rushed through the tunnels in a breath that felt like something big opening its mouth. Harlow made her decision and moved.
created_at"2026-02-19T12:21:57.365Z" 2/19/2026, 12:21:57 PM
model"openai/gpt-5-2025-08-07"
app_id182717
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streamedtrue
cancelledfalse
latency4765
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generation_time193272
tokens_prompt4663
tokens_completion5664
native_tokens_prompt4132
native_tokens_completion6364
native_tokens_completion_images0
native_tokens_reasoning2368
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.068805
router(null)
provider_responses
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endpoint_id"7c2f859a-7890-4e8e-b1de-1cd1c0a800b4"
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is_byokfalse
latency191
model_permaslug"openai/gpt-5-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771503717-FwTCQSLFiCAdWQEeUfY0"
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provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags1
adverbTagCount0
adverbTags(empty)
dialogueSentences0
tagDensity1
leniency1
rawRatio0
effectiveRatio0
98.44% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount3215
totalAiIsmAdverbs1
found
0
adverb"slowly"
count1
highlights
0"slowly"
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)
75.12% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount3215
totalAiIsms16
found
0
word"lurched"
count1
1
word"churned"
count1
2
word"footfall"
count1
3
word"measured"
count2
4
word"standard"
count1
5
word"velvet"
count2
6
word"warmth"
count1
7
word"flicked"
count1
8
word"stark"
count1
9
word"sense of"
count1
10
word"mosaic"
count1
11
word"flicker"
count1
12
word"synchronized"
count1
13
word"pulse"
count1
highlights
0"lurched"
1"churned"
2"footfall"
3"measured"
4"standard"
5"velvet"
6"warmth"
7"flicked"
8"stark"
9"sense of"
10"mosaic"
11"flicker"
12"synchronized"
13"pulse"
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
narrationSentences325
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount5
hedgeCount2
narrationSentences325
filterMatches
0"watch"
1"look"
2"know"
hedgeMatches
0"started to"
1"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences325
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen49
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords3202
ratio0
matches(empty)
0.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions8
matches
0"You have no jurisdiction where I am going, he said."
1"That token, she said, low."
2"Then do not trust me, he said."
3"Then buy, she said."
4"What is that, she said."
5"Outside law, he said."
6"Quinn, he said, quiet."
7"Bone first, he said."
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions112
wordCount3201
uniqueNames31
maxNameDensity1.03
worstName"Harlow"
maxWindowNameDensity2.5
worstWindowName"Harlow"
discoveredNames
Saint4
Christopher1
Herrera3
Raven1
Nest1
Soho2
Quinn3
Spanish1
Charing1
Cross1
Road2
Tottenham1
Court1
Northern1
Town2
Harlow33
Evening1
Standard1
London2
Tomás19
Morris1
Camden3
Keep1
Veil2
Market6
Arley2
Victoria1
Glock2
Three3
You7
Trust3
persons
0"Saint"
1"Christopher"
2"Herrera"
3"Raven"
4"Quinn"
5"Harlow"
6"Tomás"
7"Morris"
8"Market"
9"Arley"
10"Victoria"
11"Glock"
12"You"
13"Trust"
places
0"Soho"
1"Spanish"
2"Charing"
3"Cross"
4"Road"
5"Tottenham"
6"Court"
7"Town"
8"London"
9"Camden"
globalScore0.985
windowScore0.833
75.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences200
glossingSentenceCount6
matches
0"as if wincing and veered left"
1"not quite fear"
2"looked like a shadow and went sideways, s"
3"not quite obeying tilt or gravity, behaving like cat fur stroked the wrong way"
4"looked like a priest’s and a butcher’s ap"
5"felt like something big opening its mou"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.625
wordCount3202
matches
0"not for any line but for a service corridor"
1"not for shoes but for tongues, slick"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences325
matches
0"is that, she"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs107
mean29.93
std31.95
cv1.068
sampleLengths
035
11
245
332
41
542
662
770
811
93
107
112
1272
1362
1458
1529
16122
1715
181
1962
2035
2116
222
2328
2475
2521
261
2714
2810
294
305
3168
3281
33133
3477
3572
364
3787
3815
391
401
4114
427
4314
4415
452
4613
4761
4817
4919
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences325
matches
0"were, opened"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs571
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences325
ratio0.003
matches
0"Her wet hair prickled tight to her skull; she had cropped it short enough that it never got in her eyes."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2974
adjectiveStacks1
stackExamples
0"same narrow-dark sideways"
adverbCount65
adverbRatio0.021856086079354405
lyAdverbCount4
lyAdverbRatio0.0013449899125756557
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences325
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences325
mean9.85
std7.6
cv0.772
sampleLengths
011
124
21
311
415
510
62
77
817
96
101
118
121
1313
1415
1514
1622
1715
1825
195
205
2123
2217
232
2418
2511
263
277
282
2911
304
319
329
3322
3410
357
3611
373
3813
3911
4011
4113
426
432
4414
459
4612
4715
484
498
49.64% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats22
diversityRatio0.3384615384615385
totalSentences325
uniqueOpeners110
48.84% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences273
matches
0"Somewhere beyond the timber frame"
1"Then do not trust me,"
2"Then buy, she said."
3"Somewhere above, a door slammed."
ratio0.015
69.08% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount103
totalSentences273
matches
0"He had a Saint Christopher"
1"She took the turn he"
2"He had two strides on"
3"She cut his line to"
4"He darted under the distinctive"
5"He sprang over a bike"
6"She matched his rhythm, measured"
7"He glanced back, breath fogging,"
8"She bared her teeth more"
9"He swore in Spanish and"
10"Her hip clipped a wheelie"
11"She ignored the mess, kicked"
12"He rolled over the top"
13"They landed in a service"
14"He slid, recovered, then broke"
15"She reached for the radio"
16"He shot past a kebab"
17"He feinted toward the crossing,"
18"He jumped a barrier with"
19"She took the gap to"
ratio0.377
57.07% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount220
totalSentences273
matches
0"The bookshelf lurched an inch"
1"Harlow hit it with her"
2"The word snapped off her"
3"The figure ahead threw a"
4"He had a Saint Christopher"
5"She took the turn he"
6"He had two strides on"
7"She cut his line to"
8"Tomás slammed the bar with"
9"Harlow kept her feet light"
10"He darted under the distinctive"
11"Rain blitzed down in thin"
12"Tomás cut across the flow."
13"A bus brayed its horn."
14"He sprang over a bike"
15"Harlow kept the angle, used"
16"She matched his rhythm, measured"
17"He glanced back, breath fogging,"
18"She bared her teeth more"
19"He swore in Spanish and"
ratio0.806
18.32% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences273
matches
0"If I do not get"
ratio0.004
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences142
technicalSentenceCount6
matches
0"He darted under the distinctive green neon glare of The Raven's Nest sign, its bird flickering as if wincing, and veered left."
1"Rain blitzed down in thin knives, turning the pavement into a black mirror that sliced her reflection and stitched it back together with every footfall."
2"His jaw tightened as if she had pressed a cold coin under his tongue."
3"He pressed the disc into Harlow’s damp palm and took without consciousness the twenty Harlow had fished up from her pocket with her other hand, an old habit tau…"
4"He turned, and the stall holder, an older man with teeth too even and a smile that stopped short of his eyes, placed two small amber vials in a folded cloth whi…"
5"Harlow's Glock weighed her waistband like a secret that wanted its name spoken."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
85.6282%