Run: 2026-02-19-01KHTXNYGH1XMA7C0QJ1HVMVDQ

Run Details

Model:
GPT-5.1
Duration:
1m 57s
Cost:
$0.045456
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Horror 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> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> </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 horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Rory tore her palm on a hidden bramble before she saw the stones. The sting snapped her out of the rhythm of her steps. She sucked the copper from the cut and glared at the dark shapes ahead. Oaks, not normal ones, hunched in a rough circle where the park map showed nothing at all. Their trunks bulged in strange angles, grown into crude pillars, the bark slick and black in the half light. The note in her pocket crinkled when she shifted her weight. Richmond Park. Midnight. Wear the pendant. Come alone. No name at the bottom, just the same tight hand that had addressed the envelope to the flat above Silas' bar. The Heartstone pressed against her chest, hot as skin straight from a bath. It had started to glow on the bus out from Hammersmith, a faint crimson throb under her T-shirt whenever she turned her head toward Richmond. Now, ten paces from the circle, the heat burned through cotton. She stepped closer. As her boot crossed the invisible line between the last normal tree and the first standing oak, every sound flattened. Traffic hum vanished. No distant shouts from late drinkers on the road. The park, so full of small noises a moment before, emptied. Her ears rang in the quiet. She took another step. The pendant quickened against her sternum, matching the beat in her throat. "Right," she muttered, more for the shape of the word than anything. "Secret creepy grove it is." Her voice dropped dead against the trunks. No echo. She slipped between two of the oak pillars. The bark brushed her arms, rough and damp, as if the trees had just dragged themselves up from a river. A sour, green smell rose from them, like bruised nettles left in a plastic bag. Inside the circle, the ground changed. Grass under her boots gave way to a soft carpet of wildflowers. They spread out in a dense ring, petals tight shut in the dark, yet they still showed slices of colour, thick purples and bruised yellows, as if someone had painted them in the wrong palette. Rory crouched and brushed two with the back of her fingers. The stems felt warm. She straightened slowly. The grove refused to settle into a clear shape. The trees stood still enough, but the space between them seemed to bend, the dark beyond stretching in that way a hallway did in a dream when you tried to reach the door and it slid away. She glanced back. The gap she had walked through sat behind her, the same two oaks, the same narrow slice of shadow between them. Her stomach loosened a fraction. "Get in, do the weird mystical errand, get out," she told herself under her breath. "Then a stiff drink and Yu-Fei's spare ribs." The instructions said nothing about what she would find here. Only that the Heartstone would answer, at last, if she came. Whoever wrote the note knew about the pendant. That crawled under her skin more than the grove did. She walked to the middle of the ring. The air grew heavy as she moved, like wading through clear water. Her injured palm throbbed. She rubbed it against her jeans, felt dried blood tear. Something cracked to her left. She spun. A slim branch, no more than finger-thick, snapped from one of the oaks and toppled. It hit the flower bed with a dull thud, petals rustling. Nothing else moved. "Fox," she said, out loud again. "Or a deer." Deer lived here. She had cut through the park with Eva once, years ago, on some doomed girl trip before Eva left Cardiff for London. They had laughed at the sight of antlers moving in the bracken like ghosts. That memory did not fit the current silence. She checked her phone, a reflex. No bars. The time read 00:03. She had left the bus at 23:45 and walked straight in. That seemed about right. Relief made her shoulders drop a fraction. The pendant pulsed. The glow bettered itself, a deeper core of red in the already dark gem. It threw a faint wash over the front of her T-shirt, a sad imitation of torchlight. Heat gathered under it, a tight, insistent point. Rory cupped it through cloth and felt a steady, slow beat. Not her pulse. It kept its own rhythm, a second heart, stubborn and off. "Alright," she said softly. "You dragged me here. What now?" The pendant answered with another flare of warmth. A dull chime sounded at the edge of the grove, soft as wind through empty bottles. She froze. It repeated. Not random. Three notes in a row, then a pause. Three again. The sound had no clear source. It did not travel from left or right. It slid in under her hearing like a thought she did not want. The hair on her arms stood. Rory forced herself to move. Standing still meant thinking. She walked the inner circle, skirting the flowers, fingertips trailing over the bark of each oak. The trunks felt drier away from the entrance, pulled thin, like skin over knuckles. Knots in the wood had swirled into shapes that edged toward faces without getting there, too many whorls, too many almost-eyes. The chime faded. In its place, a new sound crept in. Leaves. No, not leaves. Something like paper rubbed together, soft and constant, right at the edge of the wildflower ring. She halted. The flowers nearest her boot shook. Rory stared at them. No wind brushed her cheek. The rest of the grove stayed still. She bent, slow, hand dropping to brush the petals aside. The soil between the stems breathed. Dark earth rose and fell in a flat, shallow swell, like the chest of something asleep and buried an inch under the surface. She withdrew her hand. "Not cute," she said. A breath touched the back of her neck. She spun again, palm coming up, useless weapon. The air behind her pressed in, thick and empty. The standing stones watched, silent. She swallowed. "Eva?" The name escaped before she caught it. A voice answered from the trees to her left. "Rory." Her own nickname. Same vowels, same soft drag on the R that Eva's Cardiff accent always had. It came from behind a trunk deep in the circle, on the far side of the flowers. Rory's legs moved before her brain caught up. She stepped over the wildflower ring. Warm petals brushed her ankle. The soil under her boot gave in the slightest way, like thin pastry before it flaked. Her foot sank a centimetre, nothing more. The pendant flared against her chest. "Eva?" Her throat felt tight. "You bastarding cow, if this is you." The trunk where the voice had come from waited, a tall oak with a split up its middle that suggested a gaping mouth. Shadow thickened in the cleft. She reached it and circled, expecting the sight of her friend leaning against the bark, grin already in place, some stupid explanation ready. Nobody. The shadow between the roots pooled deeper, black as oil. Her reflected outline stuttered across it, as if two versions of her stood there, a fraction out of sync with each other. Behind her, in the direction of the stones, something moved. This time she did not turn. She watched her jittering double in the slick shadow. The shape behind her closed in, edge of vision only, tall and narrow. Not a deer. Deer did not glide. This shape slid, as if the air had birthed it. Her heartbeat climbed. "Not funny," she said. The words came out flatter than she wanted. The thing at her back stopped. In the shadow at her feet, her double turned her head. Rory had not. The reflected face angled, eyes pale in the black, then smiled a touch too wide. Rory jerked back. Her shoulder hit something that felt like cold bone under cloth. She sprang away on instinct. Her boots tangled in roots, and she went down hard in the flowers. Stems snapped under her hands. Warm sap smeared her palms like spit. She rolled and looked. Nothing stood where she had been. The space between the oaks gaped, empty. No tall narrow form. No person. Only the straight trunks and the blank dark between them. Her breath rasped in her ears. She dragged herself to her knees. The pendant beat furiously now, red light spilling from under her shirt in slow, sick pulses. She snatched it out by the chain. The gem glowed like a small captured heart. The heat bit her fingers. Its rhythm did not match hers. It belonged to something older, heavier. The note had not said why it would answer here, only that the grove touched the Fae. Old stories circled that word like vultures. Her grandparents had filled her head with tales of people who walked into mounds and walked out wrong, if they walked out at all. "Alright," she said through her teeth. "Enough." The air listened. She pushed the pendant out toward the middle of the grove, arm fully extended, chain biting into the back of her neck. The glow spread. Crimson light licked over bark, caught in the hollow eyes of failed faces. The wildflowers reacted. Stems turned, all at once, toward the Heartstone. Buds unfurled in a murmur of petals, opening not to stamens but to small mirrors of the gem, each flower holding a drop of dark red shine in its throat. The scent punched at her then, thick and honeyed, with a sharp sour note beneath, like meat left on a sunny windowsill. She gagged. The earth's breathing deepened. Mounds rose between the flowers, smooth and regular, as if knuckles pushed up from below in a slow curl. The chime came again. Closer now. Inside her ears. Three notes, pause, three notes, relentless. They matched the Heartstone's pulse. She glanced at her phone without thinking. 00:03 blinked back. Her jaw clenched. She had walked the circle, listened, called out, fallen. Her sense of it said ten minutes at least. The display refused. A low chuckle unfurled behind her teeth. Not her. The sound vibrated in her jaw, inside her head. She clamped her mouth shut. It continued, muffled, pressure building like trapped gas in her skull. The pendant seared her palm. She dropped it. The chain snapped against her skin, then the gem thudded into the soil at the centre of the wildflower ring. Flowers recoiled, stems bending away from it in a ripple. Silence fell. Then the ground split. No dramatic crack, no roar. The soil around the Heartstone parted in a slow, neat circle, like a polite mouth opening. Dark widened, ate light. The pendant slid a fraction and steadied, held on nothing, suspended above a widening hole. Cold climbed out of the gap. Not air. Something absence shaped, raw and deep. It stroked her cut hand and sank to the bone. She shuffled back on her knees, heels digging furrows. A whisper rose from the opening. It did not sound like any language she knew. It sounded like all of them at once, words overlapping, cancelled out, leaving only intent. The skin at the back of her neck crawled as if insects woke under it. "Rory." Her name drifted up, carried on that knot of wrong syllables, dragged into a shape she recognised. It did not come from above. It came from under the ground. She flinched. "Who sent the note?" she shouted. Her own voice shook. "For you," the whisper answered. "Always for you." Shadows along the rim of the hole thickened. They bled out from under the flowers, thin at first then crowding, gathering into a ring of black, more absence piled on absence. The pendant hung in the centre, red heart beating slow. The shapes around the edge began to rise. They stood up as if they had knelt all this time, waiting. Human height, roughly, yet wrong in proportion. Too long in the arms, too round at the joints, like people drawn by a child who had seen a person once and guessed the rest. No faces, only smooth dark where eyes and mouths should sit. Rory scrambled to her feet. The nearest shadow-headed thing turned toward her. No features, yet she felt watched, the way you felt a CCTV lens on the back of your head in a shop. The note in her pocket rustled. One of the figures flowed closer without moving its legs. The ground did the work instead, rippling under it in tiny waves, carrying it forward. She took one step back, hit the split oak trunk behind her, and stopped. The featureless head tilted. From the blank front of it, Eva's voice poured. "Rory," it said, calm and warm, the same tone Eva had used that night in Cardiff when she had helped Rory pack her bag and leave Evan's flat. "You came." Rory's nails bit into her palms. "You are not her." "You came," it repeated, with that same gentle patience. "You wore it like she asked, clever girl. Always clever." The other shapes around the hole began to sway, slow and in time with the chime. Petals quivered at their feet. The Heartstone's glow deepened again, and a hairline crack appeared across its surface. The sound in Rory's jaw returned, the chuckle turned now to a desperate pressure, as if something inside her skull pushed for space. The shadow-thing that spoke with Eva's voice reached out a hand, fingers both too short and too many, writhing a little at the ends like white roots breaking through soil. "Come closer, Rory," it said. "You have something for us." The hand did not stop at arm's length. It kept extending, new length pouring out of the darkness of its wrist, the extra distance forming in mid air, fingers questing, the skin glistening like wet bark. Cold brushed the inside of her ankle as the first root-finger closed around her leg and pulled.
created_at"2026-02-19T12:23:31.096Z" 2/19/2026, 12:23:31 PM
model"openai/gpt-5.1-20251113"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency8609
moderation_latency(null)
generation_time117368
tokens_prompt4560
tokens_completion4714
native_tokens_prompt4064
native_tokens_completion4484
native_tokens_completion_images0
native_tokens_reasoning1487
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"
usage0.045456
router(null)
provider_responses
0
endpoint_id"764eb97f-8bab-4326-b29b-7a8799b00a70"
id"resp_0b1f4fcda6da2eb801699700c32b288196b377c47404edddc5"
is_byokfalse
latency152
model_permaslug"openai/gpt-5.1-20251113"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771503811-jOqLal1uHisGx5S0y6nR"
upstream_id"resp_0b1f4fcda6da2eb801699700c32b288196b377c47404edddc5"
total_cost0.045456
cache_discount0.004464
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
totalTags14
adverbTagCount1
adverbTags
0"she said softly [softly]"
dialogueSentences27
tagDensity0.519
leniency1
rawRatio0.071
effectiveRatio0.071
95.74% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2345
totalAiIsmAdverbs2
found
0
adverb"slowly"
count1
1
adverb"softly"
count1
highlights
0"slowly"
1"softly"
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)
59.49% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2345
totalAiIsms19
found
0
word"weight"
count1
1
word"throb"
count1
2
word"quickened"
count1
3
word"echo"
count1
4
word"stomach"
count1
5
word"throbbed"
count1
6
word"silence"
count2
7
word"pulsed"
count1
8
word"pulse"
count2
9
word"warmth"
count1
10
word"jaw clenched"
count1
11
word"sense of"
count1
12
word"vibrated"
count1
13
word"whisper"
count2
14
word"quivered"
count1
15
word"glistening"
count1
highlights
0"weight"
1"throb"
2"quickened"
3"echo"
4"stomach"
5"throbbed"
6"silence"
7"pulsed"
8"pulse"
9"warmth"
10"jaw clenched"
11"sense of"
12"vibrated"
13"whisper"
14"quivered"
15"glistening"
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
emotionTells0
narrationSentences246
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount5
narrationSentences246
filterMatches(empty)
hedgeMatches
0"started to"
1"seemed to"
2"tried to"
3"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences259
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
totalWords2339
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions14
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions40
wordCount2250
uniqueNames13
maxNameDensity0.53
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Park1
Heartstone6
Hammersmith1
Richmond2
Deer2
Eva6
Cardiff3
London1
Fae1
Shadows1
Rory12
Evan1
Three3
persons
0"Heartstone"
1"Deer"
2"Eva"
3"Rory"
4"Evan"
places
0"Park"
1"Hammersmith"
2"Richmond"
3"Cardiff"
4"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences159
glossingSentenceCount3
matches
0"Something like paper rubbed together, soft a"
1"felt like cold bone under cloth"
2"sounded like all of them at once, words ov"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.428
wordCount2339
matches
0"not to stamens but to small mirrors of the gem, each flower holding a drop of d"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount3
totalSentences259
matches
0"circled that word"
1"on that knot"
2"used that night"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs127
mean18.42
std15.46
cv0.84
sampleLengths
013
161
240
349
43
543
66
716
817
99
1043
1153
1215
133
1446
153
1626
1723
1839
198
2026
215
2228
233
249
2547
2612
2722
283
2938
3025
3110
328
3318
3441
356
3660
373
3828
392
406
4116
4210
436
4423
454
464
478
4822
492
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences246
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs373
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences259
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount156
adjectiveStacks0
stackExamples(empty)
adverbCount3
adverbRatio0.019230769230769232
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences259
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences259
mean9.03
std6.65
cv0.737
sampleLengths
013
111
214
317
419
511
62
71
83
92
1021
1113
1225
1311
143
1520
163
179
1811
196
204
2112
2212
235
247
252
268
2720
2815
296
3012
3135
3211
334
343
359
3637
373
3821
395
4015
418
4210
4311
448
4510
468
4712
484
4910
44.21% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats15
diversityRatio0.2702702702702703
totalSentences259
uniqueOpeners70
60.33% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences221
matches
0"Only that the Heartstone would"
1"Only the straight trunks and"
2"Then the ground split."
3"Too long in the arms,"
ratio0.018
84.25% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount75
totalSentences221
matches
0"She sucked the copper from"
1"Their trunks bulged in strange"
2"It had started to glow"
3"She stepped closer."
4"Her ears rang in the"
5"She took another step."
6"she muttered, more for the"
7"Her voice dropped dead against"
8"She slipped between two of"
9"They spread out in a"
10"She straightened slowly."
11"She glanced back."
12"Her stomach loosened a fraction."
13"she told herself under her"
14"She walked to the middle"
15"Her injured palm throbbed."
16"She rubbed it against her"
17"It hit the flower bed"
18"she said, out loud again"
19"She had cut through the"
ratio0.339
41.45% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount185
totalSentences221
matches
0"Rory tore her palm on"
1"The sting snapped her out"
2"She sucked the copper from"
3"Oaks, not normal ones, hunched"
4"Their trunks bulged in strange"
5"The note in her pocket"
6"The Heartstone pressed against her"
7"It had started to glow"
8"She stepped closer."
9"Traffic hum vanished."
10"The park, so full of"
11"Her ears rang in the"
12"She took another step."
13"The pendant quickened against her"
14"she muttered, more for the"
15"Her voice dropped dead against"
16"She slipped between two of"
17"The bark brushed her arms,"
18"A sour, green smell rose"
19"Grass under her boots gave"
ratio0.837
45.25% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences221
matches
0"Now, ten paces from the"
1"Whoever wrote the note knew"
ratio0.009
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences88
technicalSentenceCount5
matches
0"They spread out in a dense ring, petals tight shut in the dark, yet they still showed slices of colour, thick purples and bruised yellows, as if someone had pai…"
1"Knots in the wood had swirled into shapes that edged toward faces without getting there, too many whorls, too many almost-eyes."
2"Her reflected outline stuttered across it, as if two versions of her stood there, a fraction out of sync with each other."
3"The sound in Rory's jaw returned, the chuckle turned now to a desperate pressure, as if something inside her skull pushed for space."
4"The shadow-thing that spoke with Eva's voice reached out a hand, fingers both too short and too many, writhing a little at the ends like white roots breaking th…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags14
uselessAdditionCount0
matches(empty)
38.89% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags12
fancyCount3
fancyTags
0"she muttered (mutter)"
1"she shouted (shout)"
2"it repeated (repeat)"
dialogueSentences27
tagDensity0.444
leniency0.889
rawRatio0.25
effectiveRatio0.222
88.9868%