Run: 2026-02-19-01KHTXN8AG8ZTX50XP418XVF4Y

Run Details

Model:
GPT-5.2
Duration:
1m 31s
Cost:
$0.059591
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Thriller genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
“Police. Stop.” Harlow Quinn vaulted the last step of the Raven’s Nest’s narrow stair and slammed through the door into the street. Water flicked off her coat sleeves as she cut left, boots skidding on slick paving stones. The runner had a head start, but he carried something heavy, it dragged his right shoulder down as he sprinted. He glanced back once. A pale face under a dark hood, eyes too bright in the spill of shopfront light. Then he vanished between two parked cars. Quinn drove forward with the same hard cadence that had carried her through eighteen years of other people’s bad nights. Her worn leather watch chafed her left wrist as she pumped her arms. She kept her chin down, sharp jaw clenched, breath controlled. No shouting now. Noise helped him. Noise drew eyes. A taxi horn blared as she clipped its wing mirror. The driver leaned out and cursed. Quinn didn’t turn. The alley swallowed the runner, then spat him out into a wider street. Soho rushed past in smeared colours, neon and brake lights splintering in puddles. The runner cut across traffic without slowing. Quinn followed, one hand up, palm out. A black cab snapped to a stop inches from her thigh. “You got a death wish?” Quinn slapped her warrant card against the driver’s window without breaking stride. “Met. Police. Move.” She cleared the bonnet and hit the opposite kerb, shoes biting, then slipping. The runner shoved through a knot of smokers outside a late-night chicken shop. Grease and vinegar hit Quinn’s throat. Someone yelped as his elbow clipped a face. “Oi!” He didn’t apologise. He didn’t look back again either. He knew the streets. Quinn gained a yard. Another. He hooked hard right past a corner shop with a flickering blue sign, then ducked into a service lane where bins sat like crouched animals. The lane narrowed, walls sweating damp. A cat shot from under a pallet and bolted. Quinn’s shoulder brushed brick. Her radio bumped her ribs with each stride. She wanted to call it in, to flood the area, to do it by the book. The book hadn’t brought Morris back. The runner reached a chain-link gate at the end of the lane. It stood padlocked, but he didn’t slow. He slipped sideways, pressed his hand to a seam in the wall instead of the fence. Brick rippled. Quinn’s stomach tightened, not with fear, with recognition. Wrongness had a texture. It scraped the inside of her teeth. The runner disappeared into the wall as if the city opened its mouth and swallowed him. Quinn hit the gate and rattled it. Locked. Of course. Her eyes snapped to the brickwork. The seam still showed, a thin dark line that didn’t belong. She pulled her baton. Steel clicked. Her watch tick-tocked loud in her ears as she pressed the baton tip to the seam. The brick softened under the pressure like wet clay. A voice floated from behind her. “You look lost, detective.” Quinn spun, baton up. A man stood under the overhang at the lane’s mouth, posture casual. He wore a flat cap pulled low and a long coat that shed water in thick drops. His face carried the bland patience of someone paid to wait. Quinn kept the baton aimed at his sternum. “Move.” He smiled without warmth. “Not that way.” Quinn stepped forward, forcing him back. “I’m not asking.” He lifted both hands, palms empty. “Then don’t. You can go back to your nice lit streets. Or you can go down, where the rules change and your badge turns into a joke.” Quinn’s eyes flicked to the seam again. The runner had gone down. The man blocked the lane’s mouth like a lid. “What’s down there?” “Market.” “Camden’s nowhere near here.” His smile deepened, and that did it. A clean little confirmation that London didn’t behave for him either. “Doors open where they open.” Quinn’s baton lowered a fraction. “You’re a gatekeeper.” “I’m a doorman with a headache.” Quinn stepped in close enough to smell tobacco and something metallic under it. “Then open the door.” He shook his head. “Token.” Quinn kept her gaze steady. Her mind ran through procedure, through the clean list of options. None fit. The runner had taken evidence, or worse. She had seen the weight on his shoulder, the careful way he held it. He stole something from the Nest, something he didn’t want to drop even while running blind through traffic. Quinn’s hand went to her coat pocket. She felt paper, her phone, keys. And then her fingers found a hard nub. Bone. She pulled it free. A small, polished token, off-white, carved with a spiral that made her eyes prickle. She didn’t remember putting it there. She didn’t remember seizing it either. That bothered her more than the brick door. The doorman’s gaze snapped to the token. For the first time, his calm slipped. “You shouldn’t have that.” Quinn held it up between thumb and forefinger. “I’ve got it.” His throat worked. “Then you’re already in trouble.” Quinn pushed the token against the seam. The wall accepted it with a soft, obscene give. The seam widened. Air breathed out, damp and cold, carrying a stink of old iron, incense, and something like burnt sugar. Quinn glanced once at the street behind her, the clean geometry of streetlights and shop windows. Backup wouldn’t find her if she vanished into a wall. The doorman leaned in. “You go in alone, you don’t come out alone.” Quinn shoved past him and stepped through. The brick turned liquid around her shoulders and snapped solid behind her with a wet slap. A stairwell dropped steeply into darkness. Quinn took it fast, baton in one hand, phone torch in the other. The beam caught peeling Transport for London posters, their faces bubbled and warped by damp. She heard movement below, not one set of footsteps, many. Voices rose, overlapping, bargaining and hissing. Metal clinked. Glass chattered. Somewhere, a child laughed, sharp as a knife. Quinn reached the bottom and stepped onto cracked tiles. An abandoned Tube platform stretched ahead, lit by strings of mismatched bulbs and lanterns that burned without flame. Makeshift stalls crowded the track bed, tables built from doors and scaffolding boards. Canvas awnings sagged and dripped, but no water fell from above. The air tasted thick, like the station hadn’t breathed fresh air in decades. People moved in close streams. Not commuters. Not quite human, some of them. Quinn caught glimpses, a woman with pupils shaped like slits, a tall man whose shadow lagged half a step behind him, a teenager with a bandaged hand that wriggled under the gauze like something lived inside it. She kept her shoulders squared and walked as if she belonged. Military precision, no hesitation. Predators noticed hesitation. The runner’s hood bobbed ahead, weaving through bodies. He looked back, saw her, and surged forward. Quinn elbowed through a pair of men arguing over a jar filled with black sand. “Watch it.” “Move.” A vendor called out from behind a stall covered in old keys. “Lucky locks! Want a door no one can open, love?” Quinn didn’t answer. She tracked the runner past a line of hanging herbs that smelled sharp and medicinal, then past a cage where something small and furious slammed itself against wire with a wet thud-thud. A woman stepped into Quinn’s path. She wore a long, sensible coat and a scarf wrapped high, but her eyes held an amber sheen that didn’t match the rest of her. “No police.” Quinn stopped, close enough to see the woman’s lips had been stitched once, tiny scars like thread marks. Quinn held up the bone token. “I’m a buyer.” The woman’s gaze shifted over Quinn’s face, caught on her watch, her posture, her cropped salt-and-pepper hair. “Buyers don’t smell like paperwork.” Quinn stepped sideways, shoulder brushing past. The woman didn’t grab her. That felt like a choice, not a surrender. The runner turned down a corridor where old advertising boards leaned like gravestones. He knocked into someone and didn’t slow. A curse in a language Quinn didn’t recognise snapped after him. Quinn followed the turn and nearly collided with a man crouched over a low cot behind a stall made of stacked suitcases. A bare bulb swung overhead. The man looked up, eyes warm brown, face drawn tight with focus. A Saint Christopher medallion rested against his throat, catching the light as he moved. Tomás Herrera. Quinn had seen him once in a file photo, attached to a case that never made it to court. Former paramedic. Off-the-books medic. A ghost in official records. His hands pressed a blood-soaked cloth to a woman’s side. The blood looked too dark. The wound looked wrong, the skin puckered as if something had bitten and then melted the edges. Herrera’s gaze flicked to Quinn’s baton. “You’re not supposed to bring that.” Quinn’s eyes darted past him. The runner’s hood flashed, then vanished behind a curtain of beads. Quinn pointed towards it. “He went that way.” Herrera didn’t move from the cot. He kept pressure on the wound with one hand, his other hand hovered over a small bottle filled with cloudy liquid. “He goes where he thinks you won’t.” Quinn leaned closer, lowering her voice without softening it. “You help him?” Herrera’s jaw tightened. The scar along his left forearm showed as he shifted, pale against olive skin. “I help whoever bleeds in front of me. Tonight that includes you, if you keep running into the sharp edges down here.” Quinn’s stare stayed on his hands. Steady. Competent. The kind of hands you wanted on you if your insides tried to become outsides. “What did he take?” Herrera’s eyes flicked up, then away. “Something that made people nervous. That should tell you enough.” Quinn took a step towards the beads. “You saw him. You know where he’s going.” Herrera’s voice turned low, urgent. “Detective, listen. You chase him deeper, you won’t like what chases you back.” Quinn held his gaze. “I didn’t ask for a warning.” Herrera’s mouth twitched, not a smile, a grim acknowledgement. “Fine. He heads to the brokers, down past the old ticket hall. He’ll trade whatever he stole for a clean exit.” Quinn started for the beads. Herrera snapped a phrase in Spanish to someone out of sight. A boy appeared, no more than twelve, eyes too old. He held out a small packet wrapped in waxed paper. Herrera didn’t look at Quinn as he spoke. “Take it.” Quinn stopped. “What is it?” “Salt and iron filings. If something follows you and it won’t stop, throw it in its face.” Quinn took the packet. It felt gritty through the paper. “Why help me?” Herrera’s gaze flicked to her watch again, then to the baton. “Because you look like you don’t quit. That gets people killed down here.” Quinn slipped the packet into her pocket and pushed through the bead curtain. The corridor beyond narrowed, the air heavier. Old ticket machines lined the wall, their glass fronts cracked. Someone had painted symbols over them in chalk and blood. Quinn’s torch beam caught the marks and slid away as if the light didn’t want to linger. Footsteps scuffed ahead, quick-quick, then pause, then quick again. The runner. Quinn moved faster, shoulders tight, baton ready. She reached the end of the corridor and entered what used to be the ticket hall. Stalls ringed the space in a rough circle, leaving a pit in the middle where the floor had collapsed into a deeper shaft. Lanterns hung over it, their light sinking into the hole without hitting bottom. The runner stood at the edge, bent over, breathing hard. The heavy object hung from his shoulder in a canvas bag, the strap cutting deep into his hoodie. He faced a figure on the opposite side, a broker by the look of him, neat suit, polished shoes, hands gloved in pale leather. The broker held out a small pouch. Coins clinked inside, too loud in the hush that gathered around them. Quinn stepped into the open. “Metropolitan Police. Drop the bag.” Heads turned. Conversations cut off mid-sentence. The market’s hum tightened into a single, attentive silence. The runner straightened. He didn’t run. He smiled, and his teeth looked wrong, too even, too sharp. He swung the bag off his shoulder and held it out, not to Quinn, to the broker. “Payment first.” Quinn advanced, baton up. “Now.” The broker didn’t move. He tilted his head, studying Quinn like she had arrived without an invitation. “No uniforms,” he said, voice mild. “No badges. No questions that waste time.” Quinn’s throat tightened. “I’ve got a badge.” The runner’s smile widened. He reached into the bag. Quinn lunged. The runner pulled out a glass jar. Something inside it pulsed against the glass, not light, not exactly. It beat like a heart, thump-thump, and each beat made the lantern flames bend towards it. Quinn’s skin prickled. Her watch seemed to tick louder, then faster. The broker took one step back. “Idiot,” he hissed. The runner twisted the jar’s lid. All around them, shutters slammed down over stalls in a chain reaction of metal and wood. The circle tightened. Figures in dark coats emerged from behind canvas, faces covered, hands full of hooked tools that caught the lantern light. Quinn raised her baton as the jar’s lid came free and the thing inside screamed.
created_at"2026-02-19T12:23:08.379Z" 2/19/2026, 12:23:08 PM
model"openai/gpt-5.2-20251211"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency17564
moderation_latency(null)
generation_time90463
tokens_prompt4663
tokens_completion3653
native_tokens_prompt4132
native_tokens_completion3740
native_tokens_completion_images0
native_tokens_reasoning790
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"
usage0.059591
router(null)
provider_responses
0
endpoint_id"f00142c2-6a93-49ce-9e36-5593b904ce3b"
id"resp_00fcc81f5cb43c8401699700ac7c248190a9c0e1713af48141"
is_byokfalse
latency172
model_permaslug"openai/gpt-5.2-20251211"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771503788-CzEKSN2WFRWw61dL7f0t"
upstream_id"resp_00fcc81f5cb43c8401699700ac7c248190a9c0e1713af48141"
total_cost0.059591
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
totalTags2
adverbTagCount0
adverbTags(empty)
dialogueSentences50
tagDensity0.04
leniency0.08
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2256
totalAiIsmAdverbs0
found(empty)
highlights(empty)
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
71.19% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2256
totalAiIsms13
found
0
word"flicked"
count5
1
word"jaw clenched"
count1
2
word"stomach"
count1
3
word"warmth"
count1
4
word"weight"
count1
5
word"footsteps"
count2
6
word"silence"
count1
7
word"pulsed"
count1
highlights
0"flicked"
1"jaw clenched"
2"stomach"
3"warmth"
4"weight"
5"footsteps"
6"silence"
7"pulsed"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"jaw/fists clenched"
count1
highlights
0"jaw clenched"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences219
matches
0"t with fear"
97.20% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount5
hedgeCount2
narrationSentences219
filterMatches
0"watch"
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)
analyzedSentences267
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen37
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2243
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions78
wordCount1959
uniqueNames11
maxNameDensity2.91
worstName"Quinn"
maxWindowNameDensity6
worstWindowName"Quinn"
discoveredNames
Quinn57
Raven1
Nest2
Morris1
London2
Transport1
Tube1
Saint1
Christopher1
Herrera10
Spanish1
persons
0"Quinn"
1"Raven"
2"Morris"
3"Saint"
4"Christopher"
5"Herrera"
places
0"Nest"
1"London"
2"Spanish"
globalScore0.045
windowScore0
83.77% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences151
glossingSentenceCount4
matches
0"something like burnt sugar"
1"Not quite human, some of them"
2"felt like a choice, not a surrender"
3"appeared, no more than twelve, eyes too old"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2243
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences267
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs152
mean14.76
std14.5
cv0.983
sampleLengths
02
156
227
352
419
551
65
712
83
940
101
1113
1245
1328
146
1535
162
1719
1816
1927
206
2125
226
234
2444
258
261
274
283
296
303
316
3227
3321
343
351
364
3718
385
395
403
416
4213
434
444
451
4657
4713
489
494
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences219
matches
0"been stitched"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs353
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences267
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1972
adjectiveStacks0
stackExamples(empty)
adverbCount55
adverbRatio0.027890466531440162
lyAdverbCount3
lyAdverbRatio0.0015212981744421906
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences267
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences267
mean8.4
std5.96
cv0.71
sampleLengths
02
120
216
320
44
516
67
720
813
910
103
113
123
1310
146
153
1613
1713
187
197
2011
215
2212
233
2413
2513
266
278
281
293
306
314
324
331
3425
356
369
374
388
3916
406
4112
427
4316
442
458
464
477
4816
497
44.01% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats16
diversityRatio0.299625468164794
totalSentences267
uniqueOpeners80
33.50% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences199
matches
0"Then he vanished between two"
1"Somewhere, a child laughed, sharp"
ratio0.01
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount50
totalSentences199
matches
0"He glanced back once."
1"Her worn leather watch chafed"
2"She kept her chin down,"
3"She cleared the bonnet and"
4"He didn’t apologise."
5"He didn’t look back again"
6"He knew the streets."
7"He hooked hard right past"
8"Her radio bumped her ribs"
9"She wanted to call it"
10"It stood padlocked, but he"
11"He slipped sideways, pressed his"
12"It scraped the inside of"
13"Her eyes snapped to the"
14"She pulled her baton."
15"Her watch tick-tocked loud in"
16"He wore a flat cap"
17"His face carried the bland"
18"He smiled without warmth."
19"He lifted both hands, palms"
ratio0.251
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount190
totalSentences199
matches
0"Harlow Quinn vaulted the last"
1"Water flicked off her coat"
2"The runner had a head"
3"He glanced back once."
4"A pale face under a"
5"Quinn drove forward with the"
6"Her worn leather watch chafed"
7"She kept her chin down,"
8"Noise helped him."
9"Noise drew eyes."
10"A taxi horn blared as"
11"The driver leaned out and"
12"Quinn didn’t turn."
13"The alley swallowed the runner,"
14"Soho rushed past in smeared"
15"The runner cut across traffic"
16"Quinn followed, one hand up,"
17"A black cab snapped to"
18"Quinn slapped her warrant card"
19"She cleared the bonnet and"
ratio0.955
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences199
matches(empty)
ratio0
92.44% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences85
technicalSentenceCount6
matches
0"Quinn drove forward with the same hard cadence that had carried her through eighteen years of other people’s bad nights."
1"A small, polished token, off-white, carved with a spiral that made her eyes prickle."
2"Quinn caught glimpses, a woman with pupils shaped like slits, a tall man whose shadow lagged half a step behind him, a teenager with a bandaged hand that wriggl…"
3"She tracked the runner past a line of hanging herbs that smelled sharp and medicinal, then past a cage where something small and furious slammed itself against …"
4"Lanterns hung over it, their light sinking into the hole without hitting bottom."
5"Figures in dark coats emerged from behind canvas, faces covered, hands full of hooked tools that caught the lantern light."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags2
uselessAdditionCount1
matches
0"he said, voice mild"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount1
fancyTags
0"he hissed (hiss)"
dialogueSentences50
tagDensity0.04
leniency0.08
rawRatio0.5
effectiveRatio0.04
80.7368%