Run: 2026-02-19-01KHTXMXBQZ5GW3351MDGAP3EQ

Run Details

Model:
GPT-5.2
Duration:
1m 38s
Cost:
$0.061460
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
Rory caught the tumbler before it split on the floor and cut someone’s ankle. “Careful,” she snapped, and the man who had barged in muttered an apology without meaning it, eyes already skimming the room like he shopped for trouble by the pint. The Raven’s Nest carried noise the way old wood carried smoke. Conversations slid along the bar, hit the walls of maps and war photographs, and bounced back with new edges. Silas had curated the place to look like history, but it felt more like a waiting room for people who couldn’t afford hospitals. Rory set the rescued glass on the bar and wiped a thin line of spilled whisky with a napkin. Her left wrist flashed as she moved, the small crescent scar catching the bar light for a second, pale against her skin. She kept her shoulders square, her chin level. You learned small disciplines when you lived above a bar owned by a man who collected secrets like stamps. A voice cut through the room. “Rory?” The name landed wrong, like a hand in a pocket that wasn’t yours. She turned. For a heartbeat she didn’t place the face. The woman stood just inside the doorway beneath the green neon glow that bled through the glass, her posture too straight for the Nest, her coat too clean, her hair cut into a sharp dark bob that ended at her jaw. She looked expensive in a way that made poverty feel personal. Then the woman’s eyes widened, and the small muscle in her cheek jumped, as if an old habit tried to rise and got strangled on the way up. “Eva,” Rory said. The word left her mouth like it had been kept too long. Eva stepped forward, and the room seemed to shift around her. People leaned away without knowing why. Rory watched her move, watched the way her hands stayed close to her body, ready. The Eva she remembered had taken up space, elbows on tables, laughter loud enough to turn heads in Cardiff cafés. This one moved like she had learned what attention cost. “You look…” Eva’s gaze flicked over Rory’s black hair, her plain top, the faint bruise on Rory’s knuckles she hadn’t bothered to cover. “You look like you belong here.” “I do,” Rory said. Eva’s mouth tried for a smile. It didn’t take. Silas appeared at Rory’s side as if he had stepped out of the shadows rather than walked across the bar on his bad knee. His hazel eyes moved from Eva’s face to her hands to the line of her throat. His silver signet ring caught the light as he rested his fingers on the bar, casual as a man ordering crisps. “Friend of yours?” he asked. Eva’s eyes flicked to him, assessed him in the quick, tidy way of someone who had done it for a living. “Depends what day it is,” Rory said. Silas’s gaze stayed on Eva. “And today?” Eva gave a short laugh that held no warmth. “Today’s… complicated.” Silas nodded once, as if she had confirmed a suspicion. “I’ll make sure no one bothers you.” “No one bothers me,” Eva said, too quickly. Silas’s expression didn’t change, but something in his stillness tightened the air. Rory slid the tumbler towards its owner, who had the good sense to take it and keep his eyes down. She reached under the bar, grabbed two clean glasses, and poured without asking, one whisky, one water. Her hands didn’t tremble. That also counted as a discipline. “Sit,” Rory said. Eva hesitated, then took the stool as if it might give way under her. Rory set the water in front of her. “I remember when you drank cider and swore it was sophisticated,” Rory said. Eva’s fingers closed around the water glass. Her nails were short, clean, unpainted. “I remember when you argued case law at parties.” “I still argue,” Rory said. “Different cases.” Silas tapped the bar once with his ring, a private signal. A younger man at the far end stopped hovering and moved away, as if he’d been told the night was no longer his. Eva watched that exchange, eyes narrowing. “He’s yours now?” Rory snorted. “Silas doesn’t belong to anyone.” Silas leaned closer, voice low and even. “If you want a quiet word, the back room stays quiet.” Eva’s throat moved. She didn’t look at Rory when she answered. “I’d like that.” Rory didn’t ask why. Old Eva would have offered it up, drama in both hands. This Eva held her secrets tight, like they’d bitten her before. Silas moved first, the faint limp almost hidden by how naturally he carried it. Rory followed, and Eva came last, head slightly bowed as she passed the walls lined with black-and-white photographs of men who looked like they’d died young even when they got old. Silas reached the bookcase at the back, fingers finding a worn spine without searching. The shelf shifted. A seam opened. Rory watched Eva’s eyes widen despite herself. “Still love a gimmick, London,” Eva murmured. “It’s not for show,” Rory said. The hidden room smelled of paper, cold metal, and the kind of stale coffee people drank when they couldn’t leave. A small table sat under a single lamp. The walls held more maps, more pins, more lines connecting places where trouble liked to breed. Silas closed the bookcase behind them. The muffled sound of the bar dropped away. Eva exhaled as if she had been holding her breath for streets, for years. She set the water down with care, then stared at Rory like she had to rebuild her from memory. Rory took the chair opposite. Silas remained standing, one hand resting on the back of Rory’s chair, ownership without claiming it. Eva’s gaze flicked to Rory’s left wrist. “You still have it,” Eva said. Rory curled her hand into a fist, scar disappearing. “You still remember.” Eva’s smile finally arrived, thin but real, and it made Rory’s chest tighten in an ugly, familiar way. “You vanished,” Rory said. She kept her voice level, but the words came out sharpened. “No note. No call. Nothing. One day you’re dragging me out of Cardiff like you’re saving my life, and the next you’re gone.” Eva’s eyes dropped to the table. “I didn’t vanish. I got pushed.” “By who?” Rory asked. Eva looked up. Her eyes held the same colour they always had, a grey-green that used to look sea-glass soft. Now it looked like something harder, ground down. “You remember Evan,” Eva said. Rory’s jaw tightened at the name. She didn’t need memories to summon him. She could pull him up from muscle, from reflex, from the way her body still went alert when a man’s voice got too close behind her. “Yes,” Rory said. Eva nodded once, like she had confirmed the shape of the wound. “He didn’t like losing.” Rory stared at her. “He didn’t even know where I went.” Eva’s laugh came out wrong. “Of course he knew.” Silas shifted behind Rory, a faint creak of chair wood. Rory didn’t turn. She didn’t want to give Evan that much space in the room. Eva continued, voice flat. “He didn’t find you because someone made sure he didn’t. That wasn’t luck, Rory. That was work.” Rory’s pulse ticked up, controlled but insistent. “You.” Eva’s mouth tightened. “I had help.” Silas didn’t speak. He didn’t need to. His presence pressed against Rory’s back like a door she hadn’t realised she leaned on. Rory kept her gaze on Eva. “So you traded something.” Eva’s eyes held hers. For a moment, Rory saw the girl she’d known, the one who had picked fights with boys bigger than her and walked home laughing with a split lip. Then that face shuttered again. “I traded time,” Eva said. “And later I traded more than that.” Rory held still. “Why?” Eva spread her hands on the table, palms down. A gesture meant to calm. It didn’t. “Because you were going to die in that flat, and you were pretending it was normal. You kept correcting his grammar while he bruised you. Do you know how insane that looked from the outside?” Rory’s throat tightened. Shame arrived first, as it always did. Rage followed, close behind, like it had been waiting for a reason. “I didn’t ask you to save me,” Rory said. Eva leaned forward. “No. You asked me to pretend it wasn’t happening. And I did. Until I couldn’t.” Silas’s hand tightened on the chair back, then loosened. Rory noticed anyway. She always noticed. Rory forced her voice into something cooler. “So where did you go?” Eva’s gaze flicked to the wall map behind Rory, pins stuck into cities like puncture marks. “Into the kind of work that makes people disappear without killing them. Sometimes with, if the paperwork comes through.” Rory let the silence stretch until Eva’s eyes came back. “You’re MI5,” Rory said. Eva’s lips twitched. “Don’t flatter them.” “MI6,” Rory said, and the word tasted like Silas’s old stories, like a genre she hadn’t believed in until she started living above a bar full of strangers who spoke in codes. Eva’s eyes shifted towards Silas. “I didn’t know he was yours.” “I’m not hers,” Silas said, calm as a priest. “And she’s not mine.” Eva returned her gaze to Rory. “You’re in deep.” Rory shrugged. “I’m employed. Rent gets paid. Food gets eaten. The city keeps turning.” Eva stared at her for a long moment. “That’s your new version of normal.” Rory didn’t answer. The old normal had been a man’s hand on her shoulder guiding her into walls with a smile. The new normal came with locked doors and strangers who lied professionally. It still felt like progress. Eva’s fingers slid into her coat pocket. She pulled out a slim black object and set it on the table between them. A phone. Not new. Not cheap. The kind built to survive being dropped, kicked, or thrown. Rory didn’t touch it. “What’s that?” Eva’s voice roughened. “It’s why I’m here.” Silas spoke without looking at the phone. “You brought trouble into my bar.” Eva’s laugh came out soft, almost apologetic. “Trouble found me. I just stopped running in circles.” Rory watched Eva’s hands. No tremor. No fidget. Eva held herself like she had been trained to pass lie detectors. That, more than the haircut, felt like loss. “What do you need?” Rory asked. Eva’s eyes met hers again. The plea in them was restrained, rationed, as if she had learned begging never paid. “I need you to hold something,” Eva said. “Just long enough.” Rory’s voice stayed sharp. “Hold what?” Eva tapped the phone. “Names. Numbers. Payments. A chain.” Silas’s ring clicked softly against the chair as his fingers tightened. “Whose chain?” Eva’s gaze dropped. “Ours.” Rory’s stomach went cold, then hot. “Don’t talk in riddles.” Eva looked up, and the honesty in her face felt like a bruise offered for inspection. “Evan works with them,” Eva said. “Not officially. He makes money on the side. He hurts people for it. He always did, Rory. He just found better suits to stand behind.” Rory’s hands went still on her lap. Her nails dug into her palm, a clean pain she controlled. “He can’t touch me,” Rory said. She tried to make it true with tone alone. Eva’s eyes widened a fraction, then softened with something like pity. Rory hated it. She hated needing it. “He can,” Eva said. “He already has.” Rory’s mouth dried. “How?” Eva nodded towards Rory’s wrist. “That scar. Do you remember how you got it?” Rory’s brows pulled together. She remembered a vague image, a kitchen, a scream, a bright pain, her mother’s hands wrapped tight around cloth. Childhood. Accidental. Ordinary. Eva watched her face change and didn’t look away. “That wasn’t an accident,” Eva said. “Not the way you think. Your father made a complaint years ago, before Cardiff, before university, before you ever met Evan. Someone buried it. I dug it up. Evan found out I dug.” Silas’s voice cut in, still calm, now colder. “You brought him to her door.” Eva flinched, just once. “I kept him away for as long as I could.” Rory stared at the phone, not touching it, as if it might burn through the table. “Why come now?” Eva swallowed. For the first time since she’d walked in, fear showed itself in a small crack at the edge of her composure. “Because I’ve got something he wants,” Eva said. “And I don’t get to keep it. Not if I want to keep breathing.” Silas leaned forward, his shadow falling over the phone. “You came to my bar because you think I can protect you.” Eva’s mouth tightened. “I came because she lives here.” Rory’s chest tightened at that, an old feeling, loyalty offered like a weapon. Silas stared at Eva for a long moment. Then he looked at Rory, and his gaze held a question he didn’t speak. Rory reached for the phone. Eva’s hand slammed down on it, faster than Rory expected, hard enough to make the table jump. “Don’t,” Eva said. Rory froze. “Then why bring it?” Eva’s eyes burned. “Because it’s not the phone. It’s what’s in it. And it’s keyed to me. If I die, it unlocks.” Silas straightened, understanding arriving like a knife sliding into a sheath. Rory’s voice went quiet. “A dead man’s switch.” Eva gave a single nod. “You came here to die,” Rory said, and the accusation landed heavy. Eva’s lips parted, then closed. She didn’t deny it. That answer hurt more than the truth. Silas moved to the bookcase, fingers brushing the hidden latch like he meant to open it and throw Eva back into the noise, back into the consequences she had dragged in. A sharp crack split the muffled bar sound, close enough to feel through the walls. Then another. Wood thudded upstairs, somewhere above them, and glass tinkled as something shattered. Silas stopped with his hand on the latch. Rory pushed up from her chair so fast it scraped. “That’s my flat.” Eva’s face went blank, training taking over. “He found me.” Silas yanked the bookcase open. Noise rushed in, along with a scream from the main room and the thick, metallic sting of fresh blood. A man stumbled past the doorway clutching his throat, eyes wide, hands red and useless. Behind him, someone else stepped into view, steady, unhurried, holding a pistol as if it weighed nothing at all. Rory recognised the set of his shoulders before she saw his face. Evan smiled when he saw her, like he had come home.
created_at"2026-02-19T12:22:57.15Z" 2/19/2026, 12:22:57 PM
model"openai/gpt-5.2-20251211"
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cancelledfalse
latency8494
moderation_latency(null)
generation_time97538
tokens_prompt4618
tokens_completion4854
native_tokens_prompt4131
native_tokens_completion4320
native_tokens_completion_images0
native_tokens_reasoning1064
native_tokens_cached3968
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"
usage0.06145965
router(null)
provider_responses
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endpoint_id"f00142c2-6a93-49ce-9e36-5593b904ce3b"
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is_byokfalse
latency190
model_permaslug"openai/gpt-5.2-20251211"
provider_name"OpenAI"
status200
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id"gen-1771503777-K6K1RVA1tcVYgS5aOoLD"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags31
adverbTagCount0
adverbTags(empty)
dialogueSentences90
tagDensity0.344
leniency0.689
rawRatio0
effectiveRatio0
93.88% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2449
totalAiIsmAdverbs3
found
0
adverb"quickly"
count1
1
adverb"slightly"
count1
2
adverb"softly"
count1
highlights
0"quickly"
1"slightly"
2"softly"
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)
77.54% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2449
totalAiIsms11
found
0
word"flicked"
count4
1
word"warmth"
count1
2
word"familiar"
count1
3
word"pulse"
count1
4
word"silence"
count1
5
word"restrained"
count1
6
word"stomach"
count1
7
word"shattered"
count1
highlights
0"flicked"
1"warmth"
2"familiar"
3"pulse"
4"silence"
5"restrained"
6"stomach"
7"shattered"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow1
found
0
label"eyes widened/narrowed"
count2
highlights
0"eyes widened"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences215
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount3
narrationSentences215
filterMatches
0"feel"
hedgeMatches
0"tried to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences274
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen41
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2445
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions43
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions170
wordCount1907
uniqueNames7
maxNameDensity3.67
worstName"Rory"
maxWindowNameDensity7
worstWindowName"Eva"
discoveredNames
Raven1
Nest2
Eva68
Cardiff1
Rory70
Silas26
Evan2
persons
0"Raven"
1"Nest"
2"Eva"
3"Rory"
4"Silas"
5"Evan"
places
0"Cardiff"
globalScore0
windowScore0
30.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences125
glossingSentenceCount6
matches
0"looked like they’d died young even when t"
1"looked like something harder, ground down"
2"tasted like Silas’s old stories, like a g"
3"felt like loss"
4"felt like a bruise offered for inspecti"
5"something like pity"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2445
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences274
matches
0"watched that exchange"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs143
mean17.1
std13.3
cv0.778
sampleLengths
014
129
253
368
46
51
613
762
828
915
1062
1129
124
139
1461
155
1621
177
187
1911
2017
218
2212
2347
243
2522
2613
2722
287
2934
309
317
3218
3311
343
3526
3645
3727
387
396
4044
4114
4233
4321
447
456
4612
4718
4838
4912
95.47% Passive voice overuse
Target: ≤2% passive sentences
passiveCount6
totalSentences215
matches
0"got strangled"
1"been kept"
2"been told"
3"being dropped"
4"been trained"
5"was restrained"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs379
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences274
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1911
adjectiveStacks0
stackExamples(empty)
adverbCount73
adverbRatio0.038199895342752484
lyAdverbCount7
lyAdverbRatio0.003663003663003663
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences274
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences274
mean8.92
std7.07
cv0.792
sampleLengths
014
129
211
319
423
519
622
78
819
96
101
1113
122
138
1441
1511
1628
173
1812
1911
206
2115
2220
2310
2423
256
264
276
283
2924
3016
3121
325
3321
347
355
362
379
382
3910
407
418
4212
4320
4417
454
466
473
4814
498
46.35% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.20802919708029197
totalSentences274
uniqueOpeners57
57.14% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences175
matches
0"Then the woman’s eyes widened,"
1"Then that face shuttered again."
2"Then he looked at Rory,"
ratio0.017
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount28
totalSentences175
matches
0"she snapped, and the man"
1"Her left wrist flashed as"
2"She kept her shoulders square,"
3"You learned small disciplines when"
4"She looked expensive in a"
5"It didn’t take."
6"His hazel eyes moved from"
7"His silver signet ring caught"
8"She reached under the bar,"
9"Her hands didn’t tremble."
10"Her nails were short, clean,"
11"She didn’t look at Rory"
12"She set the water down"
13"She kept her voice level,"
14"Her eyes held the same"
15"She didn’t need memories to"
16"She could pull him up"
17"She didn’t want to give"
18"He didn’t need to."
19"His presence pressed against Rory’s"
ratio0.16
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount166
totalSentences175
matches
0"Rory caught the tumbler before"
1"she snapped, and the man"
2"The Raven’s Nest carried noise"
3"Conversations slid along the bar,"
4"Silas had curated the place"
5"Rory set the rescued glass"
6"Her left wrist flashed as"
7"She kept her shoulders square,"
8"You learned small disciplines when"
9"A voice cut through the"
10"The name landed wrong, like"
11"The woman stood just inside"
12"She looked expensive in a"
13"The word left her mouth"
14"Eva stepped forward, and the"
15"People leaned away without knowing"
16"Rory watched her move, watched"
17"The Eva she remembered had"
18"This one moved like she"
19"Eva’s gaze flicked over Rory’s"
ratio0.949
28.57% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences175
matches
0"Now it looked like something"
ratio0.006
76.19% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences75
technicalSentenceCount7
matches
0"You learned small disciplines when you lived above a bar owned by a man who collected secrets like stamps."
1"The woman stood just inside the doorway beneath the green neon glow that bled through the glass, her posture too straight for the Nest, her coat too clean, her …"
2"Eva’s eyes flicked to him, assessed him in the quick, tidy way of someone who had done it for a living."
3"Rory followed, and Eva came last, head slightly bowed as she passed the walls lined with black-and-white photographs of men who looked like they’d died young ev…"
4"Eva exhaled as if she had been holding her breath for streets, for years."
5"The new normal came with locked doors and strangers who lied professionally."
6"Behind him, someone else stepped into view, steady, unhurried, holding a pistol as if it weighed nothing at all."
92.74% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags31
uselessAdditionCount2
matches
0"Rory said, and the word tasted like Silas’s old stories, like a genre she hadn’t believed in until she started living above a bar full of strangers who spoke in codes"
1"Rory said, and the accusation landed heavy"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags30
fancyCount2
fancyTags
0"she snapped (snap)"
1"Eva murmured (murmur)"
dialogueSentences90
tagDensity0.333
leniency0.667
rawRatio0.067
effectiveRatio0.044
83.2628%