Run: 2026-02-19-01KHTXN7HYNS51Z0X8F67WK2YJ

Run Details

Duration:
1m 12s
Cost:
$0.009867
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
She snatched the glass before he could finish his sentence. The liquor sloshed, a bright green smear of the neon sign flaring in the rim like a small, urgent wound. "You always drank neat," he said. "Always," she answered, more tightly than she meant to. Her wrist brushed the crescent scar under her sleeve. It felt like an accusation. He sat back on the stool as if the years were weight and not distance. Hazel eyes measured her over the rim of his glass. The auburn in his hair had silver now, the neat beard had softened the lines of a face she remembered as lean and dangerous. He favoured his right leg, the limp subtle, practised—an old soldier's rhythm. His silver signet ring caught the green again, then the light fell away. "Silas?" The name fell out like a test. She had rehearsed different openings for this moment, nothing like this: no stage, no audience, just the bar's low hum and the clack of a poker machine in the corner. "You look like someone who hasn't slept in a week," he said, then, almost apologetically, "or ten." She laughed, small. "Between shift work and a landlord who insists on 'community events' upstairs, who sleeps?" He watched her hands. The fingers had a steadiness she recognised and did not trust, the way a person keeps their hands visible in a room full of sharp things. "You left Cardiff suddenly," he said. "You left sooner." Silas's mouth tightened. "I vanished for a while. Prague. A mistake that grew teeth." "Prague." The word existed as a memory she had been taught to keep tidy. He did not have to explain. She had read the small items in the back of newspapers, the quiet paragraphs about 'operations gone wrong'. She had been twenty when his name was whispered at family dinners like a prayer gone wrong. "You were twenty-six," she said, answering something he had not spoken. "You opened a bar." "It was the sensible thing." He tapped the signet ring with a finger. "A front, a hobby, a place to keep certain conversations off the record." "You've always said off the record and meant it." She did not move to sit, though a seat waited. Habit placed distance between them; habit kept edges sharp. Silas tilted his head, old courtesy returning for a moment. "You never finished law." She bristled despite herself. "Pre-Law was an accounting of what I thought I should do. I switched to counting bus routes." "You delivery-girl for a Chinese restaurant is a kind of counting," he said. "It keeps you present." "It pays," she said. "And it buys my rent." His gaze softened, not with pity but with a calculation that had once made him very dangerous. "You're good with numbers," he said. "You always were. You were a quick study. I thought you'd be an advocate, not a courier." "I thought I'd be something clean," she said. "Turns out clean can be another kind of dull." A half-smile ghosted over his lips. "You have never been dull." They circled the past like two wary animals in a shed. Outside, the neon sign hummed, casting the maps on the walls into strange, green seas. The Raven's Nest smelled of lemon-oil polish and the ghost of cigar smoke; the photographs on the walls watched them as if remembering things they would not say aloud. "You never called," she said suddenly. He took a breath. He spoke only when necessary; when he did, the sentences were precise, surgical. "I had to step away." "For what?" He pinched the bridge of his nose. It was a gesture she remembered from when he taught her to keep her voice even in interrogation rooms. "Duty, poor timing, worse management. I left because I wanted to stop being asked for things I could not give without losing pieces of myself." "You thought leaving pieces behind would make them easier to find later." Her voice skewered between memory and syrup. The pub quieted for a moment; a couple at the far table lowered their voices, sensing the shift. Silas's laugh was a small, dry thing. "No. I thought I would be able to hold them together for longer than I did. I miscalculated." "Miscalculated." The word had tasted metallic coming off his tongue. A miscalculation in Prague had cost him a leg and something else he did not say. He did not have to. "You came to London because of Eva," he said. "You were—" "Running," she supplied. Her mouth filled with years; she swallowed them. "From Evan. From a history I could not dress up in arguments." He watched her. He had the look of a man assembling a map from fragments, knowing where the roads ended and began again. "He followed you." The bar seemed to inhale. Around them, the usual patrons moved through their rituals; a man laughed too loudly at a joke he had heard before. Above, the flat she rented thrummed with an argument in the thin walls. It felt like the world was a living organism with small complaints. "How do you know that?" she asked. He did not answer directly. "Networks breathe. People exchange notes in napkins. A name appears." "You've been watching me," she said, but the accusation lacked heat. It was softer, edged with something she had not named. "I watched because I worried." "You were right to worry." She set the glass down carefully, avoiding the green reflection. "You always were." Silas's signet ring turned on his finger. He had a habit of worrying that metal like one might stroke a rosary. For a moment he looked simply tired, the fatigue of a man who had seen too much and still had to stay awake. "Do you regret leaving?" she asked. He considered, and that small, internal pause told her more than any explanation. "Yes," he said finally. "In ways that are exacting. In ways that hurt other people. In ways that make me wake some mornings and wonder if the ledger would have balanced differently had I stayed." She wanted to tell him about Evan's calls, about the nights she had slept on trains with the bag of change tucked under her jacket. She wanted to tell him she had wanted to call him once, maybe to slip into the safety of a name that meant something. Instead she shrugged. "I thought I could manage on my own." "You could." He said it plainly, almost too plainly. "But management is not safety." The phrase landed heavy and true. Her jaw tightened. "Sometimes safety is a closed door." "There are closed doors and there are doors you lock from the wrong side," he said. "I have—" He bit the word off like something it might sting to speak. "I have kept people behind doors because I thought it would keep them whole." "I used to think you were a hero," she said, and the admission surprised her. "You told stories like you were crafting them out of purpose." He looked at her then with something approaching regret that was not about him. "Rory, I wasn't always careful with stories. Sometimes I wrote people into plots without checking they wanted to be in them." The bar's sound swelled with laughter then dropped on cue, as if the room tilted back into its regular orbit. A young man dropped a pint; the crash spooked an old woman into coughing. For a second neither of them moved, suspended in the thin half-light. "You could have said so," she said, because she did not know how to say anything else. "You could have told me to run, to hide, to change my name." "I did not know you needed that kind of instruction." He reached for a napkin, wrung it once and folded it with careful fingers. "I assumed you would find yourself." "You assumed a lot," she said, and bitterness laced the words before she could temper them. "And you assumed I would not notice." He offered the napkin as if it were an olive branch. She took it and wrapped her fingers around the paper with no ceremony. A bell over the door clanged. The bar's air shifted; the room's attention rolled toward the entrance like a skin pulled tight. Two men came in, well-cut suits and the kind of quiet that meant they had been trained to move without creating friction. One of them paused at the doorway and let his gaze pass over the room as if checking items off a list. It stopped on her. "Rory Carter," he said, and the name landed like a verdict. Silas's hand was on the counter before she could think of moving. The signet ring flashed against the wood. "We're just closing a small matter," the man said, pleasant and thin. "Leave," Silas said. He did not use threats. He spoke like a man withdrawing curtains. "Silas Blackwood." The man's lips tightened at that name as though it had been expected, then chewed on it. "We have a question." The other man moved with a practiced disregard for spectacle. He came up close enough that she could smell cologne and something cleaner, chemical and sharp. He held a small photograph, the kind printed on ordinary paper, worn at the edges. "Recognise her?" he asked, and his finger tapped the photo where a pale face smiled back, hair shorter, the bright blue eyes unmistakable even in grainy black and white. She could see it, the image of past self like a paper cut where memory bled. Her throat closed. Silas's bar became a different room in an instant. The maps on the walls and the novels on the shelves seemed to lean forward. The bookshelf behind the bar, the one with the novels no one touched, sat like a sleeping hand. She remembered its promise, a secret room often joked about when the crowd was too loud. "You're making a mistake," she said, and it sounded thin, rehearsed. The man smiled like he had all the time in the world. "Mistakes are expensive. Allegiance, even more so." "She lives above," Silas said. "You've come to the wrong place." "A home. A harbour." The man's voice had no warmth. "A harbour will do, but harbours wash up old things." His companion produced a small device with a red light. It hummed like an insect. The hum felt obscene, intimate. People in the bar shifted, backs scraping against seats. A baby's wail started from somewhere outside, an unhelpful soundtrack. Silas's signet ring hit the wood again, a dry sound full of intent. He did not reach for the hidden switch in the shelf, though his hand hovered as if knowing the precise location. "You've been careful," the man said. "Too careful. We prefer neat ends." Rory backed up, the stool knocking a little as she moved. Her scar burned under her sleeve like heat left over from a cauterised wound. "Stay where you are," the man said. He sounded like a judge who had suddenly taken pleasure in the sentence. Silas did not move his jaw but his eyes sharpened. The limp in his left leg shifted; he had stood a fraction differently as if preparing to take weight on the other foot. "Don't," he said, not as suggestion but as a final, brittle truth. The man laughed softly. "You don't get to tell us much, Silas." From somewhere behind the bookshelf, a faint click sounded as if some long-untouched mechanism had awakened. The hidden door breathed once, a sliver of darkness yawning between the paperbacks. Time narrowed to thready focus. Her hand flew to her bag beneath the stool. She felt foolish for thinking a delivery bag could be a shield, ridiculous and brave. "Don't move," the man repeated. The device's red light pulsed. His partner's hand rested at his side like someone prepared to pluck a string that would snap the world tight. Silas leaned forward. "Rory." The name was a blade and a plea all at once. "Get out of the open." She could see, in the slight tilt of his mouth, the memory of other rooms where he had said the same and not had time to mean it. The maps on the wall folded into shadow. The neon sign buzzed like a warning. She stood, every muscle set to run, but the doorway behind her filled with the cool, sidelong stares of the two men. The bar's regulars had frozen, caught between curiosity and self-preservation. A pint clinked against glass; someone swore under their breath. "Now," the man said, and the quiet that followed had the shape of a loaded gun.
created_at"2026-02-19T12:23:07.591Z" 2/19/2026, 12:23:07 PM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency14965
moderation_latency(null)
generation_time71481
tokens_prompt4618
tokens_completion3798
native_tokens_prompt4131
native_tokens_completion4849
native_tokens_completion_images0
native_tokens_reasoning2176
native_tokens_cached3840
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.00986675
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_0af0e367cb62982601699700abac30819692479ffec18045a7"
is_byokfalse
latency134
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771503787-QxUwbWS7xC6F4qNakZde"
upstream_id"resp_0af0e367cb62982601699700abac30819692479ffec18045a7"
total_cost0.00986675
cache_discount0.000864
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags45
adverbTagCount2
adverbTags
0"she said suddenly [suddenly]"
1"he said finally [finally]"
dialogueSentences83
tagDensity0.542
leniency1
rawRatio0.044
effectiveRatio0.044
83.54% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2126
totalAiIsmAdverbs7
found
0
adverb"tightly"
count1
1
adverb"suddenly"
count3
2
adverb"very"
count1
3
adverb"carefully"
count1
4
adverb"softly"
count1
highlights
0"tightly"
1"suddenly"
2"very"
3"carefully"
4"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)
88.24% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2126
totalAiIsms5
found
0
word"weight"
count2
1
word"measured"
count1
2
word"warmth"
count1
3
word"pulsed"
count1
highlights
0"weight"
1"measured"
2"warmth"
3"pulsed"
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
emotionTells1
narrationSentences147
matches
0"t with pity"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences147
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences185
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen31
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2116
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions41
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions17
wordCount1567
uniqueNames7
maxNameDensity0.7
worstName"Silas"
maxWindowNameDensity1.5
worstWindowName"Silas"
discoveredNames
Silas11
Habit1
Raven1
Nest1
Prague1
Evan1
Rory1
persons
0"Silas"
1"Habit"
2"Raven"
3"Nest"
4"Evan"
5"Rory"
places
0"Prague"
globalScore1
windowScore1
33.18% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences107
glossingSentenceCount5
matches
0"as if remembering things they would not say aloud"
1"felt like the world was a living organi"
2"as if checking items off a list"
3"sounded like a judge who had suddenly take"
4"as if preparing to take weight on the other foot"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.945
wordCount2116
matches
0"not with pity but with a calculation"
1"not as suggestion but as a final, brittle truth"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences185
matches
0"worrying that metal"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs82
mean25.8
std15.69
cv0.608
sampleLengths
030
16
223
374
438
517
617
730
86
93
1014
1155
1215
1326
1428
1514
1621
1717
189
1940
2017
2111
2255
236
2422
252
2651
2737
2825
2931
3011
3123
3226
3351
347
3515
3621
375
3818
3944
406
4148
4260
4314
4415
4544
4626
4735
4846
4930
95.72% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences147
matches
0"been taught"
1"was whispered"
2"been trained"
3"been expected"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs287
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount10
flaggedSentences11
totalSentences185
ratio0.059
matches
0"He favoured his right leg, the limp subtle, practised—an old soldier's rhythm."
1"Habit placed distance between them; habit kept edges sharp."
2"The Raven's Nest smelled of lemon-oil polish and the ghost of cigar smoke; the photographs on the walls watched them as if remembering things they would not say aloud."
3"He spoke only when necessary; when he did, the sentences were precise, surgical."
4"The pub quieted for a moment; a couple at the far table lowered their voices, sensing the shift."
5"Her mouth filled with years; she swallowed them."
6"Around them, the usual patrons moved through their rituals; a man laughed too loudly at a joke he had heard before."
7"A young man dropped a pint; the crash spooked an old woman into coughing."
8"The bar's air shifted; the room's attention rolled toward the entrance like a skin pulled tight."
9"The limp in his left leg shifted; he had stood a fraction differently as if preparing to take weight on the other foot."
10"A pint clinked against glass; someone swore under their breath."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount600
adjectiveStacks0
stackExamples(empty)
adverbCount20
adverbRatio0.03333333333333333
lyAdverbCount3
lyAdverbRatio0.005
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences185
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences185
mean11.44
std6.54
cv0.572
sampleLengths
010
120
26
39
49
55
615
710
824
912
1013
118
1230
1317
143
1514
164
1726
186
193
203
2111
2214
236
2418
2517
2611
274
2813
2913
3019
319
3210
334
344
3517
3613
374
384
395
4017
416
4217
438
449
456
465
4711
4815
4929
39.19% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats20
diversityRatio0.2756756756756757
totalSentences185
uniqueOpeners51
24.88% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences134
matches
0"Instead she shrugged."
ratio0.007
5.07% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount72
totalSentences134
matches
0"She snatched the glass before"
1"she answered, more tightly than"
2"Her wrist brushed the crescent"
3"It felt like an accusation."
4"He sat back on the"
5"He favoured his right leg,"
6"His silver signet ring caught"
7"She had rehearsed different openings"
8"he said, then, almost apologetically"
9"She laughed, small."
10"He watched her hands."
11"He did not have to"
12"She had read the small"
13"She had been twenty when"
14"she said, answering something he"
15"He tapped the signet ring"
16"She did not move to"
17"She bristled despite herself."
18"His gaze softened, not with"
19"They circled the past like"
ratio0.537
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount125
totalSentences134
matches
0"She snatched the glass before"
1"The liquor sloshed, a bright"
2"she answered, more tightly than"
3"Her wrist brushed the crescent"
4"It felt like an accusation."
5"He sat back on the"
6"Hazel eyes measured her over"
7"The auburn in his hair"
8"He favoured his right leg,"
9"His silver signet ring caught"
10"The name fell out like"
11"She had rehearsed different openings"
12"he said, then, almost apologetically"
13"She laughed, small."
14"He watched her hands."
15"The fingers had a steadiness"
16"Silas's mouth tightened."
17"The word existed as a"
18"He did not have to"
19"She had read the small"
ratio0.933
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences134
matches(empty)
ratio0
86.17% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences63
technicalSentenceCount5
matches
0"The Raven's Nest smelled of lemon-oil polish and the ghost of cigar smoke; the photographs on the walls watched them as if remembering things they would not say…"
1"He looked at her then with something approaching regret that was not about him."
2"The limp in his left leg shifted; he had stood a fraction differently as if preparing to take weight on the other foot."
3"From somewhere behind the bookshelf, a faint click sounded as if some long-untouched mechanism had awakened."
4"His partner's hand rested at his side like someone prepared to pluck a string that would snap the world tight."
80.56% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags45
uselessAdditionCount4
matches
0"She did, though a seat waited"
1"she said, but the accusation lacked heat"
2"she said, and the admission surprised her"
3"he said, and the name landed like a verdict"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags31
fancyCount1
fancyTags
0"the man repeated (repeat)"
dialogueSentences83
tagDensity0.373
leniency0.747
rawRatio0.032
effectiveRatio0.024
77.8845%