Run: 2026-02-19-01KHTXTTD8C5P4C12RKXAF4PHA

Run Details

Model:
GPT-5
Duration:
3m 47s
Cost:
$0.066707
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. Police. Quinn shouldered through a knot of gawkers before the word finished leaving her mouth. The runner glanced back, hood tight over his skull, an armful of something wrapped in oilcloth thudding against his ribs. He slipped on the slick paving, windmilled, then caught himself and bolted down the alley between a shuttered kebab shop and a bar that still leaked drumbeat through brick. Her boots hit a puddle like a fist. Spray hit her face. She did not blink. Her breath came measured, count of four in, two out, the cadence drilled into her years ago. Her left wrist burned where the worn leather of her watch dug in. She pushed harder. He darted left past a parked moped, knocked a crate of limes into the street. Green orbs chased each other, a stupid hazard. She vaulted them and kept him centred. The whiff of petrol from the moped’s exhaust mixed with frying oil and something metallic that made the tongue sting. He looked back again. Young, maybe late twenties, pale eyes that did not match the street. The kind that logged exits the moment he entered a room. He hit Camden High Street and risked the crossing. A cab braked and swore at him. She cut behind the cab, brushed its hot bonnet with her thigh, and the driver leaned on the horn like he owned it. The runner vanished past a mural of a screaming mouth. A bus belched to her right, and a gust shoved at her. She kept low and ran. Her radio rasped at her shoulder. She ignored it. No time to feed the net. Another set of sirens bayed somewhere distant, not hers. She had him close. He cut down a service road lined with bins, took a slim gap through a buckled metal fence, and dropped out of sight. She reached the gap, shouldered through, metal tore at her jacket, then she stood at the top of a short flight of crumbling steps that sank away into the dark. He had not vanished. Footfalls thudded below and to the left. Echoes muddied the direction. Wet brick sucked sound like a mouth. She drew her torch and thumbed it. A lean cone cut the gloom. Mould flashed like frost. An old enamel sign, chipped to letters that looked like a puzzle. Underneath, spray paint still dripped. NO COPS. NO TAILS. NO TRACKING. A bone-white handprint marked the corner. She went down two at a time. The stair opened into a tiled corridor that still wore the Tube’s red banding around its gut. Posters the colour of old bruises layered across one another, opera and illegal raves and something in Cyrillic. She smelt rust and wet stone and a thin thread of incense. Another left, a right, the space widened and then doubled back on itself, a rabbit warren built by council neglect and someone else’s will. The runner vanished through a doorway half blocked by a roll shutter. A figure stepped into her path. She saw teeth under a scarf and the flash of something in a palm. She did not ask twice. Move. The figure shifted, not quite human in the tilt of the head, then melted into the arch and watched her pass with pupils blown wide. She hit an iron gate hung with padlocks that were not for show. The runner stood beyond it in a pool of lantern light, hands up, palms out, oilcloth bundle under one arm. Between them, a desk that had been a pulpit in a life she could not imagine, now painted with constellations of tiny skulls. A woman sat behind the desk. Hard eyes, cropped hair, jacket neat enough to front of house any club in Soho, but her hands were scarred like a butcher’s. She held a coin between thumb and forefinger. Not a coin. The size was wrong and the surface less flat than it should have been. Bone, carved with something that did not like being looked at too long. Bone token, the thought formed without permission. The woman held out her palm. The runner slapped a matching piece into it. Her other hand hovered above a bell the size of a baby’s fist. She did not glance at Quinn. He is about to vanish. Quinn reached for the gate. Cold stung her fingers. She rattled the bars and the padlocks danced like metal fish. The woman’s gaze cut to her at last. Calm, then colder. Token. Police, Quinn said. Move. She was aware of how thin the badge sounded down here. The woman’s mouth did not smile. No police. She reached for the bell. Quinn shifted her weight. She could climb. Padlock chain had slack. Gate ledges scarred by a century of fingers. She could be over before the bell. A voice spoke from behind her shoulder, soft and almost warm. You do not want that bell rung, detective. Quinn did not take her eyes off the runner. He had begun to edge backward, away from the cone of light, into the drift of steam beyond. The corridor behind him breathed like a throat. You know me, she said. I patched a man you dragged out of an alley with his own glass bottle in his belly. You paid cash and did not ask my name. She slid her gaze and saw him. Tomás Herrera. Olive skin sallow under bad bulbs, curls damp against his skull. His Saint Christopher medallion winked once at his throat. He cradled a canvas doctor’s bag in the crook of his elbow like a child. He had a scar down his forearm, pale as chalk on brown skin. Herrera, she said. He gave a small shrug. I answer to Tommy faster. And I answer to a place like this even faster when that bell rings. I need through. He looked from her to the woman at the desk, then to the shadow that held her quarry. His mouth twitched with a thought he chose not to share. They do not let your kind into the Market without a token, he said. Not with your steel and your rules. They prefer their own rules. He opened his bag, fished, and brought out something that clicked gently against his fingerprint. A chip of bone with a hole through it, worn smooth by worry. Quinn held his gaze. You keep one of those for patients. I keep one for not getting trapped up there when it moves, he said. Full moon makes new maps. She put out her hand. He closed his fingers around the token a beat longer than she liked, then released. Her palm felt a scratchy warmth that did not feel like dead bone. The carved lines bit against her skin, a pattern that made the eye want to slide off it. She refused. The woman’s hand came out of the lantern light with the bell poised. Token, she repeated, bored now. Quinn lifted the token and placed it in the scarred hand. Skin met bone. The chain of padlocks released with a heavy clunk that she felt in her molars as much as her ears. The gate creaked open. The runner smiled with half his mouth and turned on his heel. Quinn pushed through the gate. Herrera moved at her side, close enough to count as an error. The woman behind the desk watched them go, her fingers caressing the bell’s stem as if it were a promise. Remember your tithe, she said like a dentist reminding you to floss. The Market collects. They had stepped into the throat and it swallowed them. The tunnel widened until it thought itself a hall. Lanterns hung where strip lights had died, draped in sailcloth and paper charms that had bled in old rain. Stalls had sprung like mushrooms in the gaps between iron pillars, each with its own smell and sound. Quinn clocked the lay fast. To her left, a table of knives, old and clean, each labelled with a name in neat ink, some in alphabets she had not learned. To her right, an apothecary of thick glass jars, leeches coiling like eyelash hair, powders in colours found only in dreams that end with screaming. A woman ground something that flashed blue under the pestle. She did not look up. People pressed on all sides, and the word did not fit some of them. Sweat and clove and smoke fought in the air. A child with eyes like cat glass stared up at Quinn’s holstered sidearm and hissed. Herrera slid in closer, more shadow than bulk. Do not draw that, he said without looking at her. It is iron, and iron starts fights here. If he runs, I stop him. If he runs, you keep him in sight and we walk, he said. Keep your left shoulder to the knives and you will find the main concourse. The runner stayed a ribbon of movement ahead, not fast, not slow. He knew the rhythm of a place where running drew attention. He did not brush a single hanging amulet. He did not look back. He belonged to the Market’s pulse, not above ground. Quinn felt the ground slant under her in a way that said old rails slept beneath. Her throat tasted of copper. She swallowed and moved. A man selling teeth called after her in a voice that had been a choir once. Teeth for luck, for love, for speaking false. She kept her jaw set and ignored him. A glassblower worked in the middle of his own stall, a stick of fire at his mouth. Liquid light drooped and turned into a bottle that throbbed. Herrera’s shoulder brushed hers and his breath hitched, a small sign that he had seen something he wished he had not. Why help me, Tommy. Because I have seen what happens when your lot go in alone, he said. And because someone taught me to pay a debt when I could count it. The runner slipped under a chain of bones strung between two posts and ducked into a lane that cut away from the main throng. Quinn followed. Herrera cursed in Spanish no mother would claim and kept pace. The ceiling dropped to a height that made tall men bow. The smells shifted. There was old smoke, yes, but behind it a tang like the inside of a battery. A tattered sign above a stall read Philtres and Always. A man in a blazer with school crest still hanging by one thread fixed a watch with a tool that looked like a dentist’s pick. He glanced at her with a priest’s pity and returned to his gear. Another turn and the runner shoved a stack of crates into the path. Bottles clinked. One slid free, hit stone and did not shatter. The liquid inside turned from red to green in one lazy pour. Quinn vaulted the stack. Her heel touched wood, it gave, and she came down stumbling harder than planned. Her palm skidded across grit and something waxed that wanted to claim her fingers. Herrera’s hand snagged her jacket and jerked her upright. We go slow, he said, hand already gone back to his bag as if to cover the reflex. Slow loses him. Losing him keeps you breathing. She shot him a look that would have finished the conversation anywhere else. He did not fold. Up ahead the runner had reached a T in the corridor. He paused, unsure for the first time, then chose left. The lantern there had gone out, the dark thick enough to chew. He reached into the oilcloth and snapped a stick that spat green flame at the tip. Phosphor lit his grin and turned his face fox bright. He vanished round the left. Quinn hit the T and stopped for half a beat. Right or left. Right smelled like vinegar and tide. Left smelled like cold meat and hymnals. The left called. She turned, and they went. The stalls here did not court. No bright wares. Doors shuttered with rawhide and stamped with symbols half familiar from incident boards she had laughed at three years ago when DS Morris had told her about the case that ended him. Her hand closed around air and remembered nothing but a man lying in wet leaves under a tree with roots like hands. She shut the memory like a drawer. Herrera saw the drawer in her face and said nothing. Ahead, a figure stepped into their lane with a sweep of coat that brushed both walls. He was wide in the way of men who run on meat, not air, and his face had the calm of someone paid to stay calm. He held a lantern in one hand and a club in the other. His club had nails in it, neat, like jewellery. No steel, he said. No chasing. The runner popped up behind him in the safety of the fixer’s shadow. He tipped an invisible cap at Quinn. His other hand kept the oilcloth close, but a corner had slipped and she saw a brass hinge with notches worn satin by a thousand palms. A case. Old. Loved. Her chest hitched with a not-quite laugh. Let him by, she said. He is carrying evidence. Evidence of what, the calm man said. A debt getting paid. A family finding a thing they lost. Not your laws. Not down here. Police, Quinn said again, and it tasted farcical with incense and old teeth making the air heavy. She met the man’s eyes. He did not look back down. She liked him for that and wanted him gone at the same time. Herrera shifted a fraction and his shoulder brushed hers. His hand touched his medallion, small and absent, as if by reflex, as if the saint could navigate the labyrinth for them. Please do not push, he said under his breath. You do not see all the guns in this room. I see enough, she said. The calm man tilted his head. Your tithe, he said. The Market remembers. Quinn swallowed a curse. The woman at the gate had said the same. She glanced to Herrera. He frowned. He means coin, he said. Or a promise. I am not promising this place anything. Then coin, Herrera said. Or blood. Blood binds fast here. She pulled her wallet out with fingers that felt colder than they should. She did not carry much cash. Notes folded crisp. She held them up. The man with the lantern looked to the bundle of oilcloth and made a soft tsk. This is a thing of old weight, he said. Notes are light. Blood is heavy, worth the step. Herrera moved first, although he looked like a man biting on tinfoil. He slid his sleeve up and showed his scar along the forearm as if it were a line in a ledger that could be added to. The calm man nodded once. A woman stepped from a dark alcove Quinn would have sworn had been a window a heartbeat before. She carried a bowl carved from antler. She did not speak. Her eyes had no white in them at all. No, Quinn said. Herrera gave her a look that said she did not own him. It did not ask permission. He pinched the skin over the old scar and reached for a small blade tucked in the bag’s outer pocket. Enough. She got the blade out of his hand without anyone seeing how. She let the room see the blade and how she held it. She did not show the gun. I will pay, she said. She pushed the blade into the pad of her thumb. Pain flared like a tiny sun. She caught the drop with her other hand before it hit the floor and let it fall into the antler bowl. It rang like a small bell when the blood met it. The calm man’s lantern flame fell silent, as if listening. The woman with the deer-bone bowl shivered in a way that did not move her skin. Paid, she said. The sound came out like the scrape of match on rough paper. The calm man stepped aside. The runner slid by with a move that looked like dance practice, one hand raised as if he knew how to appease gods and guards. He shot Quinn a grin that had too many teeth and she knew a piece then that she had suspected. He had wanted her here. Pulled her with the right speed, the right glances, the right obstacles. Lured. Herrera’s breath ghosted her ear. I do not like that smile, he said. Quinn moved, now, and the runner let her see him slip into a space between two metal shutters where no space had been. He pressed a hand with a signet ring on the corrugated steel and it unstuck its atoms enough to let him pass. She reached to do the same and her palm hit iron. He had a key she did not. Herrera tapped her shoulder and pointed. A second way, pale and thin between pillars ten yards left. They went. It smelled of dry rot and salt. The second way opened into a chamber that had been a platform once, a moment in the city where trains had stopped and kissed air. The tracks were a black mouth to their right and a row of lamps hung low like beheaded saints. A hundred people moved over the stone like ants in an upturned nest. Vendors hawked charms and someone sang in a language that made Quinn’s teeth itch. The runner notched through. He was not the only target now. Faces she did not want to name moved in the edges. A man with daylight under his nails. A woman with a fox’s tail tucked into her belt and no shame about it at all. It would be trivial to vanish here with a twist and a second. Herrera grabbed her elbow hard. Do not freeze, he said. Pick. He will go north, to the tunnels that do not remember their maps. Or he will go to them. He pointed. Across the platform, a line of bulk in coats the colour of old bruise watched the crowd. Their coats all matched by accident or design and their eyes were wrong where the whites should be. Market enforcers. They watched the runner as one man watches a tip go across a table. Quinn moved. Herrera kept up. They slid behind a stall hung with glass beads that spun light like water. The stallholder made a shape with her hand that meant keep your fingers where I can see them. Quinn kept her hands high. The runner hit the enforcers like a gull hitting wind. He melted into their shadow and emerged at the far side with his oilcloth bundle suddenly under another arm, that of a taller man with rings stacked like knuckledusters without apology. The tall man’s smile ran thin and private. He put his hand on the runner’s neck as if guiding a child across a road and then lifted his chin a degree. Eyes found Quinn. Every wrong white fixed on her. No steel, the calm man had said. No chasing. Quinn did not draw. She changed her line to cut the angle to the tall man’s right instead, three paces out of blade reach. A body in a coat moved to block, slow, testing her footwork. She feinted right and went left. Something brushed her hip. It was not a hand. Herrera said without using his voice, We are alive because you are a guest. Do not make them host you. She saw the tall man hand the oilcloth to a boy of maybe twelve whose ears were marked with old burns. The boy ran, rabbit fast, along the edge of the lamps, feet slapping stone. A woman with knifemaker hands cut a string above her stall and an avalanche of cheap trinkets collapsed into the path, sparkling choke. Quinn vaulted the trinkets. Her boot snagged a chain of pewter moons. She tore free and the metal bit her calf. She swore, one word, clean as a cut. She locked onto the boy. A small back in a dirty hoodie with a cartoon wolf. She chased. Someone screamed behind her and a fight started that had nothing to do with her. Or had everything to do with her because eyes turned and the boy looked back and saw the storm he could borrow. He veered into it. Herrera’s hand found her wrist, pulled, then let go. He had made his choice too. He kept with her even though it shortened his likely life to a stub. His medallion flashed again, against throat, a desperate lighthouse. They cut through a gaggle of men arguing in a staccato she did not know, beer bottles held by their throats. One man’s sleeve brushed her and she smelt metal filings and orange peel. The boy ducked under a table draped in velvet with handprints patted into the pile. Quinn went over rather than under. A jar rolled. Something inside the jar swam and met her gaze as she flew. It blinked. She landed and let her knees take the shock. Up ahead, the boy vanished into a tunnel that yawned like a coal seam. A sign bit into the arch: NO CREDIT. NO GODS. NO COPS. The tall man turned his head. He looked at Quinn with calm and the kind of interest you wear at the races. He raised a hand. The Market listened. The lamps dimmed a shade. The stalls at the tunnel mouth closed together, owners shifting their weight to make a wall that looked casual and became not casual at all. A bell rang once, a high note that made the lids of jars quiver. Behind her, the gatekeeper who had palmed her blood’s sound in the deer bowl had a twin with a bigger bell. Not a twin. Something that had been a twin and eaten the other. Herrera’s mouth tightened. He did not run. Neither did she. The enforcers closed ranks. Clubs with nails, hooks, coils of chain. The tall man smiled like he had chosen the exact card he wanted out of a stacked deck. Quinn slid her hand to her holster. The topmost lamp burst and showered them with hot glass.
created_at"2026-02-19T12:26:10.738Z" 2/19/2026, 12:26:10 PM
model"openai/gpt-5-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency26236
moderation_latency(null)
generation_time226569
tokens_prompt4663
tokens_completion6326
native_tokens_prompt4132
native_tokens_completion6615
native_tokens_completion_images0
native_tokens_reasoning2048
native_tokens_cached4096
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"
usage0.066707
router(null)
provider_responses
0
endpoint_id"7c2f859a-7890-4e8e-b1de-1cd1c0a800b4"
id"resp_091d9a301bbb37990169970162dce481938fde41824d829755"
is_byokfalse
latency226
model_permaslug"openai/gpt-5-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771503970-ygEDJFmZX9SfVHRcfBRI"
upstream_id"resp_091d9a301bbb37990169970162dce481938fde41824d829755"
total_cost0.066707
cache_discount0.004608
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
totalTags0
97.33% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount3740
totalAiIsmAdverbs2
found
0
adverb"gently"
count1
1
adverb"suddenly"
count1
highlights
0"gently"
1"suddenly"
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)
79.95% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount3740
totalAiIsms15
found
0
word"measured"
count1
1
word"echoes"
count1
2
word"gloom"
count1
3
word"blown wide"
count1
4
word"weight"
count3
5
word"warmth"
count1
6
word"pulse"
count1
7
word"throbbed"
count1
8
word"familiar"
count1
9
word"satin"
count1
10
word"navigate"
count1
11
word"dance"
count1
12
word"velvet"
count1
highlights
0"measured"
1"echoes"
2"gloom"
3"blown wide"
4"weight"
5"warmth"
6"pulse"
7"throbbed"
8"familiar"
9"satin"
10"navigate"
11"dance"
12"velvet"
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
narrationSentences387
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount5
hedgeCount0
narrationSentences387
filterMatches
0"watch"
1"know"
2"see"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences387
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
totalWords3737
ratio0
matches(empty)
0.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions26
unquotedAttributions24
matches
0"Police, Quinn said."
1"You know me, she said."
2"Herrera, she said."
3"They do not let your kind into the Market without a token, he said."
4"I keep one for not getting trapped up there when it moves, he said."
5"Remember your tithe, she said like a dentist reminding you to floss."
6"Do not draw that, he said without looking at her."
7"If he runs, you keep him in sight and we walk, he said."
8"Because I have seen what happens when your lot go in alone, he said."
9"We go slow, he said, hand already gone back to his bag as if to cover the reflex."
10"No steel, he said."
11"Let him by, she said."
12"Police, Quinn said again, and it tasted farcical with incense and old teeth making the air heavy."
13"Please do not push, he said under his breath."
14"I see enough, she said."
15"Your tithe, he said."
16"He means coin, he said."
17"Then coin, Herrera said."
18"This is a thing of old weight, he said."
19"No, Quinn said."
20"I will pay, she said."
21"Paid, she said."
22"I do not like that smile, he said."
23"Do not freeze, he said."
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions81
wordCount3737
uniqueNames18
maxNameDensity0.83
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Quinn"
discoveredNames
Camden1
High1
Street1
Tube1
Cyrillic1
Soho1
Quinn31
Herrera20
Saint1
Christopher1
Tommy2
Market6
Spanish1
Philtres1
Morris1
Police3
You5
Do3
persons
0"Tube"
1"Quinn"
2"Herrera"
3"Saint"
4"Christopher"
5"Tommy"
6"Market"
7"Morris"
8"You"
places
0"Camden"
1"High"
2"Street"
3"Cyrillic"
4"Soho"
5"Spanish"
6"Do"
globalScore1
windowScore0.833
51.96% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences255
glossingSentenceCount10
matches
0"looked like a puzzle"
1"not quite human in the tilt of the head, then melted into the arch and watched her pass with pupils blown wide"
2"looked like a dentist’s pick"
3"smelled like vinegar and tide"
4"smelled like cold meat and hymnals"
5"not-quite laugh"
6"looked like a man biting on tinfoil"
7"as if listening"
8"looked like dance practice, one hand rais"
9"as if guiding a child across a road and then lifted his chin a degree"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount3737
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount3
totalSentences387
matches
0"want that bell"
1"dreams that end"
2"draw that, he"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs128
mean29.2
std24.03
cv0.823
sampleLengths
02
163
249
377
466
528
653
768
87
971
1032
115
121
1325
1456
1567
167
176
1827
195
2020
2111
221
234
2411
258
265
2726
2811
298
3035
315
3227
3357
343
3524
363
3729
3826
3928
4011
4119
425
4348
4418
4538
4612
4737
4815
4910
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences387
matches
0"were scarred"
1"being looked"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs692
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences387
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount3740
adjectiveStacks0
stackExamples(empty)
adverbCount80
adverbRatio0.0213903743315508
lyAdverbCount7
lyAdverbRatio0.0018716577540106951
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences387
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences387
mean9.66
std6.48
cv0.671
sampleLengths
01
11
214
320
429
58
64
74
817
913
103
1115
128
137
1420
154
1612
1711
189
197
2023
2110
2212
235
246
253
266
279
284
2923
3030
314
327
334
347
357
366
374
3812
395
402
412
422
436
447
4517
4618
4712
4824
4912
39.41% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats41
diversityRatio0.2454780361757106
totalSentences387
uniqueOpeners95
9.36% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences356
matches
0"Then coin, Herrera said."
ratio0.003
60.45% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount142
totalSentences356
matches
0"He slipped on the slick"
1"Her boots hit a puddle"
2"She did not blink."
3"Her breath came measured, count"
4"Her left wrist burned where"
5"She pushed harder."
6"He darted left past a"
7"She vaulted them and kept"
8"He looked back again."
9"He hit Camden High Street"
10"She cut behind the cab,"
11"She kept low and ran."
12"Her radio rasped at her"
13"She ignored it."
14"She had him close."
15"He cut down a service"
16"She reached the gap, shouldered"
17"He had not vanished."
18"She drew her torch and"
19"She went down two at"
ratio0.399
44.27% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount296
totalSentences356
matches
0"Quinn shouldered through a knot"
1"The runner glanced back, hood"
2"He slipped on the slick"
3"Her boots hit a puddle"
4"Spray hit her face."
5"She did not blink."
6"Her breath came measured, count"
7"Her left wrist burned where"
8"She pushed harder."
9"He darted left past a"
10"She vaulted them and kept"
11"The whiff of petrol from"
12"He looked back again."
13"The kind that logged exits"
14"He hit Camden High Street"
15"A cab braked and swore"
16"She cut behind the cab,"
17"The runner vanished past a"
18"A bus belched to her"
19"She kept low and ran."
ratio0.831
70.22% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount5
totalSentences356
matches
0"To her left, a table"
1"To her right, an apothecary"
2"If he runs, I stop"
3"If he runs, you keep"
4"Because I have seen what"
ratio0.014
99.57% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences165
technicalSentenceCount10
matches
0"She reached the gap, shouldered through, metal tore at her jacket, then she stood at the top of a short flight of crumbling steps that sank away into the dark."
1"The woman behind the desk watched them go, her fingers caressing the bell’s stem as if it were a promise."
2"His hand touched his medallion, small and absent, as if by reflex, as if the saint could navigate the labyrinth for them."
3"The calm man’s lantern flame fell silent, as if listening."
4"Vendors hawked charms and someone sang in a language that made Quinn’s teeth itch."
5"They slid behind a stall hung with glass beads that spun light like water."
6"The stallholder made a shape with her hand that meant keep your fingers where I can see them."
7"He put his hand on the runner’s neck as if guiding a child across a road and then lifted his chin a degree."
8"The stalls at the tunnel mouth closed together, owners shifting their weight to make a wall that looked casual and became not casual at all."
9"Behind her, the gatekeeper who had palmed her blood’s sound in the deer bowl had a twin with a bigger bell."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags0
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
84.5282%