Run: 2026-02-19-01KHTXQ7MRKZ0G6JB3410WVVWW

Run Details

Duration:
1m 19s
Cost:
$0.011305
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
"Stop!" she barked, boots slapping puddles, breath rasping sharp against the city noise. The figure in the hood did not stop. He cut left, swallowed a flicker of neon, vanished through a narrow gap between the Raven's Nest and a shuttered newsagent. Quinn's hand tightened on her torch. She had eighteen years of chasing people who ran for reasons that made sense and reasons that did not. Tonight felt like the latter instead of the former. She hit the alley at a run, water sluicing down her collar, leather watch flicking black against her wrist. The Nest's green sign buzzed, the bar's door spilled laughter and cigarette smoke, photographs on the walls blurred in amber. A glass bottle rolled and shattered. The hooded man kept moving, lanky, alternating left then right with the kind of gait that said practiced escape. He might have thought he could trade the Nest's hum for anonymity. He had not accounted for Quinn's balance. "Stop!" she repeated. The word had less pleading than command. Her voice carried a single thing: intent. A voice answered from the darkness, nothing but breath and a rasp. "Detective Quinn," it said. The tone held amusement and the kind of certainty that came from knowing the layout. That stung. Her jaw went tight. Morris's name flashed, unbidden. She swallowed it down, like grit, and pushed forward. Names gave people roots. Quinn did not want the roots she had now. The alley spat them out onto a wet main road where taxis hissed past. He darted across, cutting between a double-decker and a lamppost, then dove for the tube entrance at the corner. People pressed in, umbrellas flicking like dark surprised birds. He used the crowd as cover and disappeared below the metal teeth of the stairwell. She hit the top step two at a time. The adverts at the platform glowed, the world turned brand names. The station smelled of oil and old cheap perfume. Most of the lights here had been dead for years, but someone had left a feeble fluorescent humming above the ticket machine. Her boot struck metal. The hooded man reached the turnstile and did not slow. Quinn saw his hand as he moved past, a flash of pale bone-white between fingers. A token, that glint, quick as a fly's wing. He dropped it into a slot in the tiled wall. A section of the brickwork pulsed, then unlipped like a mouth into a stairway that led down, deeper, into an old service tunnel. The hidden markets never had official addresses. They preferred bone tokens and folklore, contracts made in the dark. The Veil Market moved with the moon, they said. Entry required bone. Quinn had read the reports. She had not believed the parts that read like old wives' tales until a man named Morris stopped typing and stopped breathing three years ago. She hesitated at the lip of the opening. The stairway down smelled of something old and hot, something sweet under the scent of iron. Voices drifted up, muffled and alive. She could call for backup. She could wait. The safe, lawful thing, that mantel of uniformed procedure she had draped over herself since she joined the Metropolitan. She checked her watch. Time mattered less than choices. Her training told her two things. First, follow until you find out. Second, protect yourself while doing it. "Quinn," a voice behind her said, small and urgent. A man stepped out from under the vestibule where someone had stashed a discarded crate. Tomás Herrera, the last person in town to be purely civilian. He looked like an ambulance had made a home out of his face. Warm brown eyes, medallion catching a stray light. He did not look surprised to find her here. He always smelled faintly of antiseptic and oranges. "Tommy," she said. "You should not be down there," he said. He said the words like he had measured them with a tray. He did not say you shouldn't because of law. He said you shouldn't because he had seen too many corpses that weren't quite corpses and too many things that should not have been stitched together in alleyway basements. He kept his hands out where she could see them. They were clean. "I saw the token," she said. "Who was he?" Tomás followed her gaze to the opening. "Not mine to speak of." "Every market has faces. You know them." He smiled without humour. "I patch people. I do not sell bone." The medallion at his throat caught and swung. "If you go down, you do not come back the same." Quinn did the thing she never allowed herself in company: she weighed the man as if she could balance truth and fear on his shoulders. She remembered a photograph of Morris, hair cleaner, younger, alive. She remembered the cold of the river when they had pulled a body up and the way people's faces locked in denial as if that could hold the water out. She remembered the sound that had come from under someone's ribs as a thing moved and not a heart. She had not understood Bristol. She had not wanted to. "I will not leave," she said. It was not a promise. It was the setting of a stone. Tomás's mouth thinned. "Then be careful. They know you." That cut in worse than the cold. Being known in places that hid was dangerous. Being known by people who preferred bone to badge even more so. She dropped down one step. The air took her like a hand. A trade of cold for deeper cold. The stairway became a corridor edged with stalls and curtains. Lamps burned on strings, throwing light like warm teeth. Men and women turned—heads, bodies, a ripple of interest like birds unsettled. A dog barked once, then silenced. The market unfolded: a collage of trade and barter, of jars that glowed with liquid the colour of bruises, strings of feathers, knives wrapped in velvet, bones polished smooth to a shine. The sellers moved with an economy of motion that came from hiding and survival. Tomás moved with her to the edge of the lane. He kept his hand at her elbow but did not touch. "Tomás," a woman called from a booth, giving them no other name. "Fresh waxed teeth." Her voice slid like a coin. Quinn ignored it. She scanned for the hooded man. She saw a blur of blue, a glimpse of a back turned too quickly, a scuff on the floor that made a dust cloud. She pushed through a curtain and a tangle of heavy voices folded over her. The market's sound was different from the city above. Here, language became a trade currency. People bartered in glances and talismans, not pounds. A child—no more than twelve, hair cropped fierce—sidled toward the stall where Tomás had been pointing earlier. He had been stitching up a man whose skin had gone wrong in a place Quinn had no vocabulary for. The man took too long between breaths, but Tomás's hands moved like maps, sure and practiced. "Out," Tomás hissed, eyes on the man. He dug in a pouch and pressed something into the man's palm. He watched the patient's chest rise. Quinn's torch beam went past him. She caught the hooded man's profile at last: long nose, a scar under the eye, tooth like a stone. He stood by a vendor selling glass eyes. They were not for the living. The man dangled a small bone token on a string. Quinn moved. The man's lips flattened into a smirk as he saw her. He did the thing people who had held bone tokens did when they wanted to be polite: he offered the token. "You should not be here," she said. "You shouldn't be surprised," he said. He tucked the token back. "We like surprises." "You leave now, before this gets complicated." He laughed, a dry, precise sound. "And what? Arrest me? Explain pointe d'os? Tell the boys upstairs we exchange bone for coin? They will laugh. They will not come." Quinn considered the shape of the market around them. There were exits and loops and blind alleys designed by people who loved secrets. Every stall felt like a throat. "Tomás," she said quietly. He shook his head. "No." "Then get out the way," she said louder. He did not move. He had the look medics got when they watched a patient die slowly. She adjusted her stance and reached for the token. Her hand touched the string. It was cold, like thin bone. The moment her fingers closed, the market shifted. Conversations tapered. A bell tucked somewhere in the market sounded once, pure and small. People folded in. A man at a cart raised his arm and then lowered it like a conductor. A barred door at the far end of the lane clanged shut. "Don't," Tomás said. The single word fractured over his teeth. She felt eyes collect like rain. The hooded man grinned with a predator's ease and then moved. He did not run. He lifted the token high, as if making an offering. Words rolled from his mouth in a language Quinn did not have on any file. The light warped. Ink-black shadows peeled from corners and moved like smoke toward the token. Quinn should have let go. She should have retreated and radioed. She should have obeyed the protocols that had kept officers whole for decades. She had never liked the way protocol softened the edge of danger. She preferred the hard angle of reality. She stepped forward instead. Her shoulder brushed Tomás. He flinched but did not pull her back. "Police," someone shouted, high and absurd. A vendor laughed once. A dog howled and then was quiet. The token flared like a moth caught in a lamp. Shadows fanned outward. People who had been quiet began to move—one reaching for a knife, another snatching a coil of rope. The hooded man took one step back and then folded away into the crowd like a smudged photograph. A figure detached from the press, cloth like a tide. Quinn saw a face now, not a hood: clean-shaven, older, eyes pale as bone. He stepped onto a small platform and lifted his palm. Vendors bowed. The figure's voice filled the space. It was lyrical, practiced. "Guests," he said. The word was an invitation and a trap at once. Tomás grabbed her arm, hard. "Get down," he hissed. "Now." She did not bend. Instinct kept her upright. She saw the angle, then felt it—a weight behind her left leg. Something like a cable snapped out and wrapped around her ankle. She stumbled. The floor tipped. A heavy wooden crate swung from an overhead beam and cracked the back of her calf. Pain detonated bright and clear. Her boot slipped in a smear of something wet. A bolt of wood hit the tiles. She tasted copper. Someone moved in the crowd, a long-armed figure, and the world narrowed to that movement. Tomás lunged, pulling at the cable. His medallion flashed. The older man's voice rose, a slow chant that sounded like old libraries being opened. Quinn twisted, found enough purchase to throw an elbow. The cable bit harder, a rope lined with fear. The vendors drew closer. A dozen hands, some gloved, some not, reached. Her torch spun from her fingers and skittered into shadow. For a second, she thought she saw the face of Morris in the older man's eyes, as if the city had folded memory into present. Tomás shoved something into her palm. "Take it," he said. It was small and cold and not bone. His fingers slipped back to the man's chest. Blood darkened his knuckles. Quinn's free hand found something at thigh level, a forgotten baton. She heard a click, small and decisive. The older man gestured again, and the crowd flowed like clockwork to obey. A bright bolt screamed out from a hidden crossbow and skittered over the spot where her head had been a beat before. It struck the man beside her, who gave a sound like a dog and folded. The market erupted. "Out!" someone yelled in a language that was not English enough to confuse, but English enough to warn. The crowd surged forward. The older man glared. Tomás shoved her toward a narrow service door and shoved a knife into the back of a crate to wedge it open. His breath came fast. He kept his voice low. "Now," he said. She moved because he said so, because his hands were blistered and steady. When she passed under a hanging lamp, she saw the older man's mouth thin with contempt. He lifted the token high. In the sudden light it looked like an eye. Quinn shoved through the door and felt the market's press against her back. She did not have a token. She did not have a plan B. She had a badge folded in her pocket and a watch that still ticked. She had instincts that had cost her partners and nights of sleep. A hand closed over her shoulder from behind and another in front. She was squeezed between two bodies that smelled of oil and old blood. Tomás shoved a sliver of paper into her palm. "When you get the chance," he said, his mouth close to her ear, "look for the map." Before she could answer, before she could move, someone struck the string of a bell hard enough to set teeth on edge. The older man cried out a name that landed like a stone. "Detective Quinn." The entire market turned. The moment crystallised and broke. The older man's eyes found hers. He smiled with teeth that had never known kindness. Tomás pushed her forward, then vanished, swallowed by a congregation of bodies. Quinn ran because there was no other thing to do. She burst into a lane of stalls and felt the rope that had wrapped around her ankle pull taut. The crate that had hit her earlier rocked back on its hinges and fell. She vaulted over a low table stacked with jars that glowed darkly. A hand seized at her coat. She tore free, hears ringing, and then— Something slammed into her, hard, and the world went bright with pain. The torch clattered, rolling. Glass shattered. A shout split the air. When she hit the tiles she tasted blood and the market's perfume. A figure leaned over her, face gone from human into a cut of shadow. Fingers curled toward her throat. They were not meant to be touched.
created_at"2026-02-19T12:24:13.215Z" 2/19/2026, 12:24:13 PM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency4641
moderation_latency(null)
generation_time79076
tokens_prompt4663
tokens_completion4615
native_tokens_prompt4132
native_tokens_completion5136
native_tokens_completion_images0
native_tokens_reasoning2048
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"
usage0.011305
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_0d58093f9907765101699700ed49288190a3c5f3020271103c"
is_byokfalse
latency152
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771503853-m61gXLRRdQO8qbissnN5"
upstream_id"resp_0d58093f9907765101699700ed49288190a3c5f3020271103c"
total_cost0.011305
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
totalTags25
adverbTagCount2
adverbTags
0"Her voice slid like [like]"
1"she said quietly [quietly]"
dialogueSentences35
tagDensity0.714
leniency1
rawRatio0.08
effectiveRatio0.08
95.91% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2446
totalAiIsmAdverbs2
found
0
adverb"quickly"
count1
1
adverb"slowly"
count1
highlights
0"quickly"
1"slowly"
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)
75.47% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2446
totalAiIsms12
found
0
word"flicker"
count1
1
word"shattered"
count2
2
word"glint"
count1
3
word"pulsed"
count1
4
word"measured"
count1
5
word"unsettled"
count1
6
word"velvet"
count1
7
word"scanned"
count1
8
word"fractured"
count1
9
word"predator"
count1
10
word"weight"
count1
highlights
0"flicker"
1"shattered"
2"glint"
3"pulsed"
4"measured"
5"unsettled"
6"velvet"
7"scanned"
8"fractured"
9"predator"
10"weight"
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
emotionTells2
narrationSentences248
matches
0"d with fear"
1"n with contempt"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount1
narrationSentences248
filterMatches
0"watch"
hedgeMatches
0"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
maxSentenceWordsSeen32
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2436
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions28
unquotedAttributions1
matches
0"The Veil Market moved with the moon, they said."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions51
wordCount2286
uniqueNames12
maxNameDensity0.79
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Quinn"
discoveredNames
Raven1
Nest3
Quinn18
Veil1
Market1
Metropolitan1
Herrera1
Tomás15
Morris3
Bristol1
English2
People4
persons
0"Raven"
1"Nest"
2"Quinn"
3"Market"
4"Herrera"
5"Tomás"
6"Morris"
7"People"
places
0"Bristol"
globalScore1
windowScore1
35.71% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences175
glossingSentenceCount8
matches
0"felt like the latter instead of the for"
1"looked like an ambulance had made a home"
2"quite corpses and too many things that should not have been stitched together in alleyway basements"
3"felt like a throat"
4"as if making an offering"
5"Something like a cable snapped out and wrapp"
6"sounded like old libraries being opened"
7"looked like an eye"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.411
wordCount2436
matches
0"not English enough to confuse, but English enough to warn"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences259
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs72
mean33.83
std24.57
cv0.726
sampleLengths
013
163
283
317
412
519
632
757
865
957
1060
1157
1227
139
1464
153
168
1763
189
1912
207
2131
2294
2318
249
2527
26102
2721
2821
2970
3053
3125
3249
3334
347
3514
367
3729
3829
394
405
418
4226
4363
4410
4561
4643
4716
4817
4949
96.77% Passive voice overuse
Target: ≤2% passive sentences
passiveCount6
totalSentences248
matches
0"been stitched"
1"Being known"
2"Being known"
3"being opened"
4"were blistered"
5"was squeezed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs441
matches(empty)
87.70% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount6
semicolonCount0
flaggedSentences5
totalSentences259
ratio0.019
matches
0"Men and women turned—heads, bodies, a ripple of interest like birds unsettled."
1"A child—no more than twelve, hair cropped fierce—sidled toward the stall where Tomás had been pointing earlier."
2"People who had been quiet began to move—one reaching for a knife, another snatching a coil of rope."
3"She saw the angle, then felt it—a weight behind her left leg."
4"She tore free, hears ringing, and then—"
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount538
adjectiveStacks0
stackExamples(empty)
adverbCount10
adverbRatio0.01858736059479554
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
mean9.41
std5.78
cv0.614
sampleLengths
013
18
221
36
419
59
619
720
86
919
1012
117
123
137
147
1512
164
1715
182
194
204
219
224
239
2414
2519
269
2715
289
2911
309
3122
324
3310
3415
359
3610
3723
387
3911
409
413
425
4325
448
4516
466
475
483
4919
36.87% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats34
diversityRatio0.2471042471042471
totalSentences259
uniqueOpeners64
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences229
matches(empty)
ratio0
50.57% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount97
totalSentences229
matches
0"she barked, boots slapping puddles,"
1"He cut left, swallowed a"
2"She had eighteen years of"
3"She hit the alley at"
4"He might have thought he"
5"He had not accounted for"
6"Her voice carried a single"
7"Her jaw went tight."
8"She swallowed it down, like"
9"He darted across, cutting between"
10"He used the crowd as"
11"She hit the top step"
12"Her boot struck metal."
13"He dropped it into a"
14"They preferred bone tokens and"
15"She had not believed the"
16"She hesitated at the lip"
17"She could call for backup."
18"She could wait."
19"She checked her watch."
ratio0.424
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount216
totalSentences229
matches
0"she barked, boots slapping puddles,"
1"The figure in the hood"
2"He cut left, swallowed a"
3"Quinn's hand tightened on her"
4"She had eighteen years of"
5"Tonight felt like the latter"
6"She hit the alley at"
7"The Nest's green sign buzzed,"
8"A glass bottle rolled and"
9"The hooded man kept moving,"
10"He might have thought he"
11"He had not accounted for"
12"The word had less pleading"
13"Her voice carried a single"
14"A voice answered from the"
15"The tone held amusement and"
16"Her jaw went tight."
17"Morris's name flashed, unbidden."
18"She swallowed it down, like"
19"Names gave people roots."
ratio0.943
21.83% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences229
matches
0"Before she could answer, before"
ratio0.004
97.26% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences94
technicalSentenceCount6
matches
0"The hooded man kept moving, lanky, alternating left then right with the kind of gait that said practiced escape."
1"He said you shouldn't because he had seen too many corpses that weren't quite corpses and too many things that should not have been stitched together in alleywa…"
2"Quinn did the thing she never allowed herself in company: she weighed the man as if she could balance truth and fear on his shoulders."
3"The market unfolded: a collage of trade and barter, of jars that glowed with liquid the colour of bruises, strings of feathers, knives wrapped in velvet, bones …"
4"People who had been quiet began to move—one reaching for a knife, another snatching a coil of rope."
5"She had instincts that had cost her partners and nights of sleep."
85.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags25
uselessAdditionCount2
matches
0"she barked, boots slapping puddles, breath rasping sharp against the city noise"
1"he said, his mouth close to her ear,"
13.64% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags22
fancyCount6
fancyTags
0"she barked (bark)"
1"she repeated (repeat)"
2"Tomás hissed (hiss)"
3"someone shouted (shout)"
4"he hissed (hiss)"
5"someone yelled (yell)"
dialogueSentences35
tagDensity0.629
leniency1
rawRatio0.273
effectiveRatio0.273
79.8915%