Run: 2026-02-19-01KHTXRGYQ1D98RX0695NJQ0B1

Run Details

Duration:
1m 5s
Cost:
$0.009457
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
A pint glass hit the floor and exploded into a fan of light and beer. Aurora kicked the chair back with the heel of her shoe, not gentle, not careful, the paper bag from Yu-Fei's rubbing against her thigh like a guilty hand. "Oi," someone barked behind the bar. Silas came out of the secret room with the slow, habitual patience of a man who measured his movements to save a sore knee. The green neon over the door crawled across his face. He stopped halfway, at the sight of her, as if someone had paused the film. "Rory." His voice folded into the low music of the bar and the sound of glass. She did not let herself smile. She did not, either, look away. Bright blue eyes caught the neon, the bar, the maps on the wall. Her black hair stuck briefly to her cheek where sweat had collected. The crescent scar on her left wrist showed when she threw the delivery bag onto the counter; the bag crumpled on top of the broken glass. "Silas," she said, and her tone stripped whatever formalities might have existed between them. "Long time." "Longer than either of us wanted." He set his hand on the counter. The silver signet on his right hand caught the light and held it like a small, private sun. "You alright? You look—" He stopped. Words for the way people aged either swelled into sentiment or dissolved into rudeness. He chose nothing. "I am fine." She stripped her gloves off with a small, impatient motion and pressed them into the counter. "Work's fine. Yu-Fei's fine. The road's fine." The list hung like a set of defensive walls. "What are you doing here? Thought you were retired." Silas's eyes drifted past her to the back door, the bookshelf that barely concealed the secret room, the maps that had once been battle plans in a different life. He smiled without teeth, the habit of a man who had smiled to keep from saying too much. "I am retired," he said. "This is that retirement. The Nest is quieter than Prague, I grant you. Fewer gunshots, more bar fights about trivia. Mostly the latter, which is preferable." She laughed then, a sharp sound that cut against the rim of silence. The laugh softened something in the bar, made a woman wiping glasses at the end of the counter glance up and then away. "You look older," Aurora said, because there must be some honesty to keep the conversation honest. "But you still wear the same ring." Silas's fingers toyed with the signet. "The ring was made to fit a different person. It has a strong memory." "Like everything else here." Her gaze skimmed the black and white photographs until it stilled on one of a younger Silas in a suit that still fitted his shoulders like a promise. "You stare at the maps like they might mean something again." "They do." He turned his body, the limp making him small for a second, then large again. "Different things, though. Routes now, not exits. Where to hide the good whiskey." Aurora sat on a stool, too quickly, the stool complaining in a squeak. She uncapped a bottle from ceramic in the rack and did not drink. She had always been a woman who moved first and explained later; the controlling nerves of a law student had given way to quicker instincts, the kind that read danger like a late-night delivery route. "You always were good at reading a room," she said. "Better than reading a statute." "Someone gave you that line before." He stepped closer, the bar between them like the thin, familiar distance that had kept them safe when both of them were younger and not yet ready to name their fears. "You kept up with law then. What happened? Cardiff to London. That's not an errand." She flinched. The name Evan hovered, sharp and uninvited. She folded her hands to hide the scar on her wrist. For a beat she let the old versions of herself enter the room, the student with arguments practised into the shape of her mouth, the girl with a neat binder and a stubborn jaw. Then she let them go. "I ran," she said. "Fled is a dreamier word, but I fled. Someone I thought was safe ended up having other plans. Ava dragged me to London. I took a job. Got a room above a bar because it's cheap and the landlord pretends not to notice the ornaments." Silas watched her with an expression that measured facts the way a surgeon measured pulse. "You ran where we told you to." He folded his arms. "You remember the plan." She gave him a thin smile. "Plans, right. You taught me to compartmentalise. It works until it doesn't." There was a shadow in his face then, an old fracture the years had not mended. He had watched operations that failed the size of continent, heard names roll like stones, carried the weight of miscalculations in a limp and a sleep that came too easily some nights. Aurora had once been the person he expected to save herself. She had been clever enough. She had been brave enough. The regret in his gaze did the unsaid work for him. "You could have come to me," he said, soft, and the softness hurt more than a reprimand. "I could have." Her jaw ticked. "But you retired. You closed doors." She did not say that she felt abandoned, or maybe she did, in the edge of her voice. "You left the front lines, Silas. Places that need you kept needing you. I needed a map and the map's gone." Silas reached into the till and took out an old, folded cigarette packet, though neither of them smoked. He thumbed it like someone looking for an answer written on paper. "I walked away from the field for reasons you know. Prague was not kind. I failed to come back whole. I thought a bar would be manageable. I thought I could still be useful by being visible. Obviously vanity." "You failed to be visible when it mattered." That came out harder than she intended. It landed like a thrown coin between them. "When Evan started showing up at lectures. When things began to go dark. You said the Nest was safe—" "I said it was the best I could offer." He put the cigarette packet back. "I could have done better. I could have moved faster. I failed you then and I have felt like a man with a stone in his boot ever since." Regret, when voiced, is a dangerous thing. It pleads. It admits. It opens soft places. Aurora had clenched herself closed around such moments for years. She felt the pull to forgive, to trace the lines back to softer truths. She also felt the long catalogue of evenings where a phone did not ring when she needed it to, of doors not answered. Time had a talent for collecting complaints. "Prague did that to you," she said. "It did that to a lot of people. It was messy." "Messy is not the word," Silas replied. "Wrong is the word. We were wrong about the variables. We paid for it. I paid for it." He lifted his chin, as if to seal a wound with bone. "And if you think I closed a door on you, I apologise. Old habits are hard to break." The apology was not clean. It sat in the air, wet and present, and then someone in the corner laughed a laugh that sounded like they were trying to be cocky and ended sounding thin. The bartender, a young man with an unfortunate nose, slid over a glass with an apologetic tilt. "Keep it," Silas said, a small courtesy that felt like truce. "You didn't come here to settle debts, Aurora." "No," she said. "I came because they sent me down." "Who sent—" She stopped. The bar's doorway flung open and two men walked in like the closing of a gate. They looked like they had been used by life, not finished with it. One of them wore a jacket that had seen better winters; the other smelled of sweat and something sharper, the smoke of alliances. "Rory Carter?" the man in the jacket called, and his voice folded itself into the room like a claim. Silas moved slow but decisive, the years of habit making him faster than the limp suggested. He stepped so that his body set itself in front of Aurora. The men hesitated, assessing the terrain, the patrons, the owner. "Not tonight," Silas said. "We do not drag old ghosts into the Nest." "Where is she?" The man reached for the counter but kept his hand out of harm's way. "You owe, Carter. You ran with the money." Aurora felt heat press against her skin behind her ribs. The name landed wrong. She had been using other names, small lies, to keep things neat—no lingering debts, no records. Evan's memory, or someone who knew him, had never fully left. The scar on her wrist prickled like old frostbite. "I have no money," she said, and the avoidance in her voice was not a lie so much as a resource. "I deliver for Yu-Fei. Ask him." "Do you think we want his dumplings?" The man laughed. "Heard you had a run-in with Evan. Thought you were safe. Silas, he's a name in bad papers. He doesn't forget." Silas's hand found the signet ring, the ring that belonged to lineages, to promises made under oath. He could feel the weight of it. He had taught people to find angles, to read a room for exits. He had forgotten for a heartbeat the smallest detail of hospitality: when threats came through the door, you learned who wanted the fight and who wanted the story. "Outside," he said, quietly, but the word carried. "Now." The men looked at him and then at Aurora. Pride warred with calculation. Pride lost. "Outside then." The man in the jacket smiled in a way that claimed ownership of the rest of the night. Aurora stood. Her stool scraped; the sound felt like a pistol. Her wrists wanted to shake. She had rehearsed running drills in the back alleyways of the city for reasons she would not have named if someone had asked. The old rules pinged in her head: don't run straight, don't look back, don't let them herd you underground. She broke two rules at once. She looked at Silas. "You shouldn't have done that," she said, voice low. "I am not explaining hospitality to you," Silas replied. His voice had an edge like a polished blade. He pushed away from the counter and led the way to the back door, the men following like storm clouds. In the doorway, rain greeted them with immediate intent. It plastered Aurora's hair to her neck. The cold hit like a truth. Silas closed the door behind them in a move that was more theatre than lock; patrons craned necks at the sound. The neon sign painted their faces the colour of old promises. The man in the jacket stepped forward. Up close, his jaw was hard as a decision. He did not look like Evan, though the name he carried did. "You run with the cash," he said to Aurora. "You run with our people's money. You owe." "I don't owe you." Aurora's hands curled into fists around the fabric of her jacket. "You don't know what you're talking about." "You ran from Evan." The other man said the name like a benediction and spat. "That's payment enough." Silas's hand moved then, quick, practised. He pinched the man's wrist with the kind of force that left a message. "Leave. Now. Out of my doorway. Or do this like men who do not want trouble and walk out with the dignity you had before you came in." The man's face changed in a breath, the kind of change men show before they break. He stepped back. He mouthed something that was not a threat but a promise. "This is not over." He and his companion went, the rain swallowing their shapes. The door shut. The bar was a room with breath. Inside, the patrons went about a thousand small recoveries, the conversations knitting themselves back together around the hole of near-violence. Silas leaned against the door and laughed once, a dry sound that did not reach his eyes. "First rule of the Nest," he said. "Do not let anyone make threats in your doorway. Second rule, if they do, make sure they leave embarrassed." Aurora looked at him. Her bright blue eyes were not the same as they had been in Cardiff. They were wired with the present. She felt the old versions of herself like thin costumes she could step into and out of. For a moment she wanted nothing more than to fold into the safety of a remembered arrangement, to let Silas take the weight, to let him be the man who fixed things. "Thank you," she said, and the words were small, but they came. Silas did not soften. He simply moved his hand to the signet and ran his thumb over the crest. "Get out while the rain feeds the pavement. Go home, Aurora. Find out who sent them. Tell Yu-Fei to watch his shipments." She hesitated, the city holding its breath. The secret room's bookshelf gave the faintest creak behind them, like a reminder of other doors. A car alarm somewhere screamed, a high sore note that threaded through the night. Aurora's thumb rubbed the scar on her wrist without thinking. The contact stung, and the sting was a compass. "I will," she said. "And Silas—" "Don't make promises you will not keep," he said, and it was not quite a rebuke. It was not quite forgiveness either. She turned to leave then, and for a second the two of them existed in the space people occupy before history closes around them again. She reached the door and her hand touched the handle. Behind her, someone called her name in a voice that sounded like the past had come back with better tailoring. "Rory!" The voice split the air. The bar heard it and froze. The sound of the name had the weight of a remembered thing, the kind that unravels neat patterns. Aurora's hand on the handle tightened. She did not turn. Footsteps quickened on the pavement. Someone ran toward them from the street, a figure wrapped in rain like an accusation. Silas's hand slid to his pocket where, once, a different device would have lived. He found only the memory of it. He looked at Aurora. There was nowhere to put the regret now. The man on the pavement reached for Aurora and a flash of a familiar face crossed his features, not the face of Evan but of someone who had a claim on her. He called out a name, and the bar, the city, the night all folded into the single thin wire that held them together. "Rory, stop running."
created_at"2026-02-19T12:24:55.518Z" 2/19/2026, 12:24:55 PM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3015
moderation_latency(null)
generation_time64476
tokens_prompt4618
tokens_completion4393
native_tokens_prompt4131
native_tokens_completion4644
native_tokens_completion_images0
native_tokens_reasoning1472
native_tokens_cached3840
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.00945675
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_00e70e8c9d292b5b016997011799d88197a73102ea3ddcb957"
is_byokfalse
latency124
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771503895-fauAZIpLoCuJgafqQj3U"
upstream_id"resp_00e70e8c9d292b5b016997011799d88197a73102ea3ddcb957"
total_cost0.00945675
cache_discount0.000864
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags41
adverbTagCount1
adverbTags
0"The list hung like [like]"
dialogueSentences77
tagDensity0.532
leniency1
rawRatio0.024
effectiveRatio0.024
98.03% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2542
totalAiIsmAdverbs1
found
0
adverb"quickly"
count1
highlights
0"quickly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
68.53% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2542
totalAiIsms16
found
0
word"measured"
count3
1
word"silence"
count1
2
word"familiar"
count2
3
word"pulse"
count1
4
word"carried the weight"
count1
5
word"variables"
count1
6
word"could feel"
count1
7
word"weight"
count3
8
word"reminder"
count1
9
word"footsteps"
count1
10
word"quickened"
count1
highlights
0"measured"
1"silence"
2"familiar"
3"pulse"
4"carried the weight"
5"variables"
6"could feel"
7"weight"
8"reminder"
9"footsteps"
10"quickened"
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
emotionTells0
narrationSentences164
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences164
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences200
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen45
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2534
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions28
unquotedAttributions0
matches(empty)
99.79% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions44
wordCount1892
uniqueNames7
maxNameDensity1
worstName"Silas"
maxWindowNameDensity2
worstWindowName"Silas"
discoveredNames
Yu-Fei1
Silas19
Words1
Aurora17
Evan4
Regret1
Cardiff1
persons
0"Silas"
1"Aurora"
2"Evan"
places
0"Yu-Fei"
1"Cardiff"
globalScore0.998
windowScore1
7.72% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences123
glossingSentenceCount7
matches
0"sounded like they were trying to be cocky"
1"felt like truce"
2"looked like they had been used by life, n"
3"felt like a pistol"
4"not quite a rebuke"
5"not quite forgiveness either"
6"sounded like the past had come back with b"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.789
wordCount2534
matches
0"not a threat but a promise"
1"not the face of Evan but of someone who had a claim on her"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences200
matches
0"say that she"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs70
mean36.2
std19.98
cv0.552
sampleLengths
043
16
249
316
463
516
654
744
847
931
1036
1123
1220
1343
1430
1561
1615
1752
1859
1949
2030
2118
2280
2317
2451
2569
2642
2744
2869
2918
3055
3152
3219
3310
342
3554
3619
3738
3813
3925
4050
4127
4231
4365
449
4515
4620
4768
489
4938
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences164
matches
0"been used"
1"were wired"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs328
matches
0"were trying"
57.14% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount5
flaggedSentences6
totalSentences200
ratio0.03
matches
0"The crescent scar on her left wrist showed when she threw the delivery bag onto the counter; the bag crumpled on top of the broken glass."
1"She had always been a woman who moved first and explained later; the controlling nerves of a law student had given way to quicker instincts, the kind that read danger like a late-night delivery route."
2"One of them wore a jacket that had seen better winters; the other smelled of sweat and something sharper, the smoke of alliances."
3"She had been using other names, small lies, to keep things neat—no lingering debts, no records."
4"Her stool scraped; the sound felt like a pistol."
5"Silas closed the door behind them in a move that was more theatre than lock; patrons craned necks at the sound."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1896
adjectiveStacks0
stackExamples(empty)
adverbCount60
adverbRatio0.03164556962025317
lyAdverbCount8
lyAdverbRatio0.004219409282700422
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences200
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences200
mean12.67
std8.38
cv0.662
sampleLengths
015
128
26
324
410
515
616
76
86
913
1012
1126
1214
132
1413
1518
166
1714
183
1919
2016
219
2229
2318
245
2526
2613
2723
2816
297
306
3114
3232
3311
3417
3513
3613
3713
3835
3910
405
4137
4215
432
447
4511
4634
475
484
4945
40.17% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats23
diversityRatio0.31
totalSentences200
uniqueOpeners62
45.35% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences147
matches
0"Bright blue eyes caught the"
1"Then she let them go."
ratio0.014
29.52% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount70
totalSentences147
matches
0"He stopped halfway, at the"
1"His voice folded into the"
2"She did not let herself"
3"She did not, either, look"
4"Her black hair stuck briefly"
5"she said, and her tone"
6"He set his hand on"
7"He chose nothing."
8"She stripped her gloves off"
9"He smiled without teeth, the"
10"She laughed then, a sharp"
11"Her gaze skimmed the black"
12"He turned his body, the"
13"She uncapped a bottle from"
14"She had always been a"
15"He stepped closer, the bar"
16"She folded her hands to"
17"He folded his arms"
18"She gave him a thin"
19"He had watched operations that"
ratio0.476
0.82% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount135
totalSentences147
matches
0"A pint glass hit the"
1"Aurora kicked the chair back"
2"someone barked behind the bar"
3"Silas came out of the"
4"The green neon over the"
5"He stopped halfway, at the"
6"His voice folded into the"
7"She did not let herself"
8"She did not, either, look"
9"Her black hair stuck briefly"
10"The crescent scar on her"
11"she said, and her tone"
12"He set his hand on"
13"The silver signet on his"
14"Words for the way people"
15"He chose nothing."
16"She stripped her gloves off"
17"The list hung like a"
18"Silas's eyes drifted past her"
19"He smiled without teeth, the"
ratio0.918
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences147
matches(empty)
ratio0
91.84% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences70
technicalSentenceCount5
matches
0"Silas came out of the secret room with the slow, habitual patience of a man who measured his movements to save a sore knee."
1"Silas's eyes drifted past her to the back door, the bookshelf that barely concealed the secret room, the maps that had once been battle plans in a different lif…"
2"She had always been a woman who moved first and explained later; the controlling nerves of a law student had given way to quicker instincts, the kind that read …"
3"He had watched operations that failed the size of continent, heard names roll like stones, carried the weight of miscalculations in a limp and a sleep that came…"
4"One of them wore a jacket that had seen better winters; the other smelled of sweat and something sharper, the smoke of alliances."
88.41% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags41
uselessAdditionCount3
matches
0"He lifted, as if to seal a wound with bone"
1"she said, voice low"
2"she said, and the words were small, but they came"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags25
fancyCount3
fancyTags
0"someone barked (bark)"
1"She did (do)"
2"The man laughed (laugh)"
dialogueSentences77
tagDensity0.325
leniency0.649
rawRatio0.12
effectiveRatio0.078
80.9109%