Run: 2026-02-19-01KHTXM8TBQX1M5GGP1GNZ1M2G

Run Details

Model:
GPT-5.2
Duration:
1m 29s
Cost:
$0.063453
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 caught the bottle before it smashed, her palm stinging as glass bit through the label’s wet paper. “Hands off,” the man snarled, already leaning across the counter again. She twisted his wrist down to the bar top. Not hard enough to break anything, hard enough to make his eyes water. His mates paused, watching to see if she meant it. Silas Blackwood did not raise his voice. He never did. “Let go of my bottles.” The man gave a little laugh, like he owned the place by volume alone. He tried to wrench free. Aurora tightened her grip, feeling tendons roll under skin. She had learned leverage in uglier rooms than this one. “Your choice,” she said. “You can pull and lose skin, or you can walk out with all of it.” He spat something at the floor that sounded like a dare. Then he stopped pulling. The defiance leaked out of him in one long exhale. Aurora released him and stepped back as if she had never touched him at all. Silas wiped the counter with a cloth that had seen better decades. His silver signet ring glinted when he folded the cloth once, twice, neat as paperwork. “Rory,” he said. She hated how the old nickname still hit a soft place. Like a thumb pressed into a bruise to test if it still hurt. “Si.” She flexed her fingers. Glass had left a thin red line across her palm. “Your clientele’s improving.” “They’re consistent,” he said. “That’s worse.” The man and his friends drifted towards the door under the green neon sign, all shoulders and muttered threats. One looked back, trying to write her face into memory. Aurora held his gaze until he looked away first. Silas nodded towards the narrow corridor by the bookshelf. The hidden back room sat beyond, quiet and watchful, like a mouth closed around a secret. “Not tonight,” she said. Silas studied the fresh line of blood. He did not reach for her hand, and he did not ask what it cost. “Behind the bar,” he said. “Tap’s free if you don’t drain me.” “I don’t drink on shift.” “You’re not on shift.” She took the beer anyway. The glass felt cold, honest. The Raven’s Nest pressed in around her with its maps and old photographs, black-and-white faces staring past the present as if they had already seen how it ended. The place smelled of stale hops, lemon peel, and the faint iron of old secrets. Aurora slid onto a stool at the far end where the light fell weakly. She kept her back to the wall out of habit. The wall held a map of Prague with a crease through it, as if someone had once folded the city to fit their pocket. She sipped. The beer tasted like burnt toast and relief. A laugh cut through the low noise, sharp as a snapped thread. It did not belong here. It came from the corner near the photographs, where the shadows gathered around a woman perched with her elbows on the table, cigarette unlit between her fingers. Aurora’s throat tightened on the swallow. Straight-backed posture. Chin lifted like she had been born refusing to apologise. A ring on her index finger, cheap and new, catching light. Hair cut short now, not the long chestnut rope Aurora remembered. Dark eyeliner, heavy enough to look like armour. The woman’s mouth curled as if she was tasting something sour. She turned her head, and the familiar shape of her smile made Aurora’s stomach drop. Eva. Aurora stood too fast. Her stool scraped. A few heads turned, ready for another small drama. Aurora walked anyway, beer in hand, eyes fixed. Eva looked up as if she had been expecting this for years and not at all. Her bright gaze landed on Aurora’s face, and for a moment the bravado slipped, replaced by something tired and bare. “Rory Carter,” Eva said, voice roughened, the vowels dragged into London. “I thought you’d died.” Aurora stopped at the table. She did not sit. “I thought you’d vanished.” Eva’s laugh came again, thinner this time. She flicked the cigarette against the table though it wasn’t lit. “Same thing, depending who you ask.” Aurora set the beer down. Her fingers hovered near the glass as if she needed an anchor. “You told me to come,” she said. “You begged. You said, ‘Get on the train, love, and don’t look back.’ So I did. I got on the train. I didn’t look back. I got here, and you weren’t at the station.” Eva’s gaze dropped to Aurora’s left wrist, to the small crescent scar that peeked out when her sleeve shifted. Something tightened in Eva’s face, quick as a shutter. “You always had that,” Eva said. “Yes,” Aurora said. “I always had it. I also always had a phone. You didn’t answer yours.” Eva leaned back. The chair creaked. Her eyes swept the bar, then returned to Aurora. They stayed steady, but her hands betrayed her. The cigarette rolled between her fingers, faster, faster. “You look… clean,” Eva said. Aurora almost laughed. It would have sounded wrong in her mouth. “I deliver takeaway for a living,” she said. “I live above this bar. I wash my uniform in the sink. Is that your idea of clean?” Eva’s lips pressed together. She glanced towards the corridor by the bookshelf as if she knew it hid more than storage. “So you landed with Silas,” she said. “Of course you did.” “You know him,” Aurora said. It came out sharper than she meant. Eva’s eyes flicked up. The humour returned, brittle. “I know half of Soho. I owe the other half money.” Aurora pulled the chair opposite and sat. The table felt sticky, varnish worn away by countless spilled drinks and nervous hands. She kept her voice low. “Why are you here?” Eva shrugged with one shoulder, small and careless. The motion tugged the collar of her jacket, showing a bruise at the edge of her neck. Not makeup. Not shadow. Someone’s hand. “You’re not the only one who drinks,” she said. “You don’t drink,” Aurora said. “You used to say it made you stupid.” Eva’s smile twitched. It did not reach her eyes. “I used to say a lot,” she said. “You used to correct my grammar.” Aurora’s face warmed, shame and anger mixing until she couldn’t separate them. “You wrote me two messages,” Aurora said. “One from a number I didn’t recognise. One from an email address that looked like spam. I answered both.” Eva stared at her as if Aurora had spoken another language. “I didn’t send those,” Eva said. Aurora’s pulse slowed, then surged again. She kept her expression still, a habit she had taught herself with effort. “So someone wanted me to think you’d reached out,” Aurora said. “Someone wanted me to answer.” Eva’s eyes shone briefly with something like pride, quickly smothered. “You learned,” Eva said. “Good.” Aurora clenched her fingers under the table, nails biting into her palm near the fresh cut. “Don’t do that,” she said. “Do what?” “Talk like you’re grading me.” Aurora leaned forward. “You left me with nothing but a station platform and a bruised rib under my shirt, and you talk like I passed a test.” Eva’s gaze dipped to Aurora’s hand, to the faint red line across the skin. She swallowed. “You think I don’t know?” Eva said. “I watched you walk away from him, Rory. I watched you pick up your bag and pretend your hands weren’t shaking. You didn’t even look back at me.” “You weren’t there,” Aurora said. “I was there,” Eva said, and her voice cracked on it. She cleared her throat, forced the words out again, firmer. “I was there. I saw you. Then I went to make a call and when I came back you’d gone. The station was full of faces and none of them were yours.” Aurora’s breath caught. She heard the clink of glasses, the low murmur at the bar, a song bleeding through a speaker with a tired drumbeat. All ordinary noise, made strange by the way Eva’s eyes looked now, older in a way years alone couldn’t manage. “You could have found me,” Aurora said. “You knew Cardiff. You knew my parents. You knew where I lived.” Eva’s jaw tensed. She looked away, out past Aurora’s shoulder, as if the answer lived somewhere on the wall among the old photographs. “I went to your street once,” Eva said. “I stood by the corner shop with the blue awning. I watched your mum come out with a bag of shopping like nothing could ever touch her. I couldn’t do it.” Aurora stared. Her mother, her father. Their names in someone else’s mouth. It felt obscene and tender at the same time. “Why not?” Aurora said. She hated how small the words sounded. Eva’s eyes returned, hard now, like she had closed a door inside herself. “Because your ex wasn’t the only man looking for you,” Eva said. “Because I’d already dragged you into it. Because I thought if I cut the rope you’d stop being tied to me.” Aurora held her gaze. “What is ‘it’?” she said. Eva’s mouth opened, then shut again. Silence hummed between them, thick and electric. A figure moved behind the bar. Silas watched without appearing to watch, polishing a glass that did not need polishing. Eva lowered her voice. “You know how you always liked puzzles?” she said. “I liked answers,” Aurora said. Eva nodded once, conceding the point. “I ran messages,” Eva said. “Small things at first. Names. Addresses. I told myself it was harmless, like passing notes in class. Then it stopped being notes.” Aurora remembered Eva at sixteen, slipping past teachers, slipping past parents, always moving, always laughing. Eva had made danger look like a joke you could share. “And now?” Aurora asked. Eva’s hands tightened around the cigarette until it bent. “Now people don’t laugh,” Eva said. “Now they pay in teeth and blood. Now I can’t go back to Cardiff because someone would follow me there and make my mum answer the door.” Aurora let the words settle. They sank slow, heavy, like stones dropped into dark water. “You came here because of me,” Aurora said. Eva’s smile returned, almost affectionate, and that made it worse. “I came here because of Silas,” she said. “He’s the sort who keeps a door open even when it should be locked.” Aurora glanced towards the corridor again. “You’re working with him,” she said. Eva’s eyes glittered. “Not with,” she said. “Around. Near. Like a moth near a flame. You know what happens.” Aurora leaned back, fighting the urge to reach across the table and grab Eva’s wrist, to demand proof that she was real. “What do you want?” Aurora asked. Eva’s gaze softened, and for a moment Aurora saw the girl she used to know, the one who stole biscuits from the tin at Aurora’s house and left crumbs like confessions. “I want you to stop living above a bar like a ghost,” Eva said. “I want you to stop pretending you don’t have a brain built for better things.” “You didn’t come here to offer career advice,” Aurora said. Eva’s laugh came out low. “No,” she said. “I came to warn you.” Aurora’s skin prickled. “Warn me about what?” she asked. Eva’s eyes darted to the entrance. A pause. A calculation. “They know about you,” Eva said. “They know you’re here. They know you’re useful.” Aurora’s fingers went cold around her glass. “Who are they?” she said. Eva’s gaze held hers. “The people I should never have met,” Eva said. “The people who don’t send messages, they send men.” Aurora’s heartbeat steadied into something sharp and clean. She felt Silas’s presence like a weight behind her, a silent question. “You could’ve warned me earlier,” Aurora said. Eva flinched, and Aurora regretted it at once, not because it was cruel but because it was true. “I did,” Eva said. “In the only way I could. I vanished.” Aurora’s throat burned. She did not give Eva the satisfaction of tears. She had given enough people enough satisfaction. Eva reached into her jacket pocket. Aurora’s muscles tensed without her permission. Eva pulled out a folded piece of paper, creased until it looked old. She slid it across the table. Aurora did not touch it. “What is that?” she asked. “Names,” Eva said. “And places. And one number you should memorise and then burn.” Aurora stared at the paper like it might bite. “You’re asking me to step into your mess,” she said. Eva tilted her head. “You’ve already stepped,” she said. “You’re just standing still.” Aurora finally reached out. Her fingers brushed the paper. The contact felt like a vow. A new sound cut through the bar’s murmur, the quick click-clack of shoes that belonged in offices and courtrooms, not sticky floors and spilled lager. The Raven’s Nest’s door opened, neon green light slicing across the threshold for a beat. Two men walked in. They wore lovely slim new charcoal Italian suits that fit like decisions. One carried a small black briefcase. The other scanned the room with a practised calm, his eyes missing nothing. Silas set down his glass behind the bar. He did not move towards them, but the air changed anyway, like a wire pulled tight. Eva’s face drained of colour. The cigarette dropped from her fingers and rolled across the table, leaving a faint trail of ash. “Don’t look,” Eva murmured. Aurora looked. The man with the briefcase stopped beside their table. He smiled at Aurora first, polite as a solicitor. “Miss Carter,” he said. Aurora’s blood turned thin. “I don’t know you,” she said. He placed a photograph on the table. It showed Aurora leaving Golden Empress with a delivery bag, her head turned as if she had heard something behind her. The angle made her look hunted. The second man moved around behind Eva’s chair. His hand rested lightly on the back, ownership without force. Silas’s voice carried from the bar, quiet but clear. “This is private,” he said. “You walked into the wrong room.” The man with the briefcase did not turn to face Silas. He kept his eyes on Aurora, on her left wrist where the crescent scar showed now that her sleeve had ridden up. “We’ve waited a long time,” he said. “Miss Carter, you’re coming with us.” Eva’s chair scraped as she shoved back, fast and wild, and the second man’s hand snapped down onto her shoulder hard enough to make her teeth click. Silas’s hand disappeared beneath the bar. Aurora’s fingers closed around her beer glass, knuckles whitening, as the man with the briefcase opened it and reached inside.
created_at"2026-02-19T12:22:36.114Z" 2/19/2026, 12:22:36 PM
model"openai/gpt-5.2-20251211"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency6378
moderation_latency(null)
generation_time88597
tokens_prompt4618
tokens_completion4518
native_tokens_prompt4131
native_tokens_completion4016
native_tokens_completion_images0
native_tokens_reasoning804
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"
usage0.06345325
router(null)
provider_responses
0
endpoint_id"f00142c2-6a93-49ce-9e36-5593b904ce3b"
id"resp_053ea5a1d27e5aec016997008c329c8195b814319fedd186ef"
is_byokfalse
latency203
model_permaslug"openai/gpt-5.2-20251211"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771503756-Cpn8EcCYkyjuxdsQznjg"
upstream_id"resp_053ea5a1d27e5aec016997008c329c8195b814319fedd186ef"
total_cost0.06345325
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags60
adverbTagCount0
adverbTags(empty)
dialogueSentences101
tagDensity0.594
leniency1
rawRatio0
effectiveRatio0
95.95% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2468
totalAiIsmAdverbs2
found
0
adverb"quickly"
count1
1
adverb"lightly"
count1
highlights
0"quickly"
1"lightly"
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)
81.77% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2468
totalAiIsms9
found
0
word"familiar"
count1
1
word"stomach"
count1
2
word"flicked"
count2
3
word"pulse"
count1
4
word"silence"
count1
5
word"electric"
count1
6
word"weight"
count1
7
word"scanned"
count1
highlights
0"familiar"
1"stomach"
2"flicked"
3"pulse"
4"silence"
5"electric"
6"weight"
7"scanned"
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
narrationSentences228
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount1
narrationSentences228
filterMatches
0"look"
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences269
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen34
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2464
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions70
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions137
wordCount1747
uniqueNames12
maxNameDensity3.55
worstName"Aurora"
maxWindowNameDensity8.5
worstWindowName"Eva"
discoveredNames
Blackwood1
Glass1
Silas10
Raven2
Nest2
Prague1
Aurora62
London1
Eva54
Italian1
Golden1
Empress1
persons
0"Blackwood"
1"Glass"
2"Silas"
3"Raven"
4"Nest"
5"Aurora"
6"Eva"
places
0"Prague"
1"London"
globalScore0
windowScore0
68.70% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences123
glossingSentenceCount4
matches
0"sounded like a dare"
1"tasted like burnt toast and relief"
2"something like pride, quickly smothered"
3"felt like a vow"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2464
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences269
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs149
mean16.54
std12.21
cv0.738
sampleLengths
018
111
232
310
45
538
619
740
827
93
1024
1118
126
1338
1425
154
1622
1712
185
194
2053
2148
2210
2344
246
2553
2615
271
2824
2936
3015
319
324
3318
346
3517
3641
3728
386
3917
4031
415
4211
4326
4421
4511
4612
478
4811
4926
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences228
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs348
matches
0"was tasting"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences269
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1751
adjectiveStacks1
stackExamples
0"lovely slim new charcoal"
adverbCount56
adverbRatio0.03198172472872644
lyAdverbCount6
lyAdverbRatio0.0034266133637921186
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences269
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences269
mean9.16
std6.26
cv0.683
sampleLengths
018
111
29
313
410
57
63
75
814
95
109
1110
124
1315
1411
154
1610
1715
1812
1915
203
2111
2213
235
2410
253
264
272
2819
2910
309
319
3216
334
347
3515
365
377
385
394
405
415
4228
4315
4414
4510
4624
472
488
4912
42.94% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats19
diversityRatio0.21933085501858737
totalSentences269
uniqueOpeners59
41.15% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences162
matches
0"Then he stopped pulling."
1"All ordinary noise, made strange"
ratio0.012
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount48
totalSentences162
matches
0"She twisted his wrist down"
1"His mates paused, watching to"
2"He never did."
3"He tried to wrench free."
4"She had learned leverage in"
5"He spat something at the"
6"His silver signet ring glinted"
7"She hated how the old"
8"She flexed her fingers"
9"He did not reach for"
10"She took the beer anyway."
11"She kept her back to"
12"It did not belong here."
13"It came from the corner"
14"She turned her head, and"
15"Her stool scraped."
16"Her bright gaze landed on"
17"She did not sit."
18"She flicked the cigarette against"
19"Her fingers hovered near the"
ratio0.296
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount153
totalSentences162
matches
0"Aurora caught the bottle before"
1"the man snarled, already leaning"
2"She twisted his wrist down"
3"His mates paused, watching to"
4"Silas Blackwood did not raise"
5"He never did."
6"The man gave a little"
7"He tried to wrench free."
8"Aurora tightened her grip, feeling"
9"She had learned leverage in"
10"He spat something at the"
11"The defiance leaked out of"
12"Aurora released him and stepped"
13"Silas wiped the counter with"
14"His silver signet ring glinted"
15"She hated how the old"
16"She flexed her fingers"
17"Glass had left a thin"
18"The man and his friends"
19"Aurora held his gaze until"
ratio0.944
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences162
matches(empty)
ratio0
71.43% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences70
technicalSentenceCount7
matches
0"The Raven’s Nest pressed in around her with its maps and old photographs, black-and-white faces staring past the present as if they had already seen how it ende…"
1"Eva’s gaze dropped to Aurora’s left wrist, to the small crescent scar that peeked out when her sleeve shifted."
2"She looked away, out past Aurora’s shoulder, as if the answer lived somewhere on the wall among the old photographs."
3"Silas watched without appearing to watch, polishing a glass that did not need polishing."
4"A new sound cut through the bar’s murmur, the quick click-clack of shoes that belonged in offices and courtrooms, not sticky floors and spilled lager."
5"They wore lovely slim new charcoal Italian suits that fit like decisions."
6"It showed Aurora leaving Golden Empress with a delivery bag, her head turned as if she had heard something behind her."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags60
uselessAdditionCount1
matches
0"Eva said, voice roughened, the vowels dragged into London"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags58
fancyCount2
fancyTags
0"the man snarled (snarl)"
1"Eva murmured (murmur)"
dialogueSentences101
tagDensity0.574
leniency1
rawRatio0.034
effectiveRatio0.034
83.1977%