Run: 2026-02-19-01KHTXXEKXZNYWEX3FVS2E9VYR

Run Details

Duration:
59.4s
Cost:
$0.008944
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Horror genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The pendant thudded against her sternum, an impatient heartbeat pressed beneath her jacket, and Aurora kept moving between the standing stones as if momentum could outrun the wrongness. An hour earlier the Heartstone had warmed in her pocket on Portobello Road, a faint, almost embarrassed heat that made her fingers tense. A warmth for a portal meant a place people ought not know but someone, somewhere, did. The unknown benefactor had written Isolde's Grove on a scrap of paper in a script that smudged like it had been written with a thumb, and Rory had come because she could not unhear the pendant. She told herself that was pragmatic. That was a delivery driver following a lead. That was reason. Wildflowers, impossibly bright and careless, crowded the path. They smelled like perfume at the edge of memory, cloying and green. Time folded wrong as soon as she passed the last oak; the air stretched, like elastic, and her watch blinked the same time twice. She shoved it into her pocket. Electronics meant little between Earth and Fae, and she did not trust clocks tonight. The Grove kept its secrets by moving at the edges of sense. Sounds arrived thinly, as if heard through paper. A robin called with a wrong, staccato rhythm, then fell silent as though it had forgotten the rest of its song. Leaves made a soft, repetitive sound that could have been whispering, or a sewing machine half-remembering a stitch. Rory kept her shoulders down and her steps measured. She had not come to breathe poetry. She had come to trace warmth. The Heartstone pulsed, a faint inner glow against the silver chain. She fingered it without thinking until the crescent scar on her left wrist felt hot where cold metal kissed skin. The scar used to be a child's accident, a sliver of too-close glass. Tonight it seemed to listen. A laugh came from the hedge, high and quick. Not the easy laugh of someone sharing a joke, but a thin child's laugh, as if the darkness itself had been taught to mimic play. Rory stopped. Her mouth shaped words she did not hear. She squinted through the gloom and saw only a shift of wildflowers at the edge of her vision, as if the flora herself had taken a small step to the right. "Laila?" It sounded like paper folded, like someone testing the syllables for elasticity. Rory's skin went tight. She did not use that name in public since she leaked it once drunkenly at a funeral and found it lodged in the wrong mouths. Only a handful of people called her Laila now, and none of them were likely to be humming nursery songs in Richmond. She answered aloud, because remaining quiet felt like drawing a curtain. "No one here called me that," she said, and her voice came back wrong, lagging by a breath. It sounded as though she had said it underwater. Something moved behind a ring of bluebells. Not fast, just the suggestion of motion, a slide of shadow along the bark. Rory turned her head, slow, deliberate, making sure not to startle whatever had the patience to wait. Her breath came out in clouds, though the night had no right to be that cold. The Heartstone warmed against her sternum, as if the pendant had pressed closer to listen. Footsteps, but not hers. A soft scrape, like boots on damp earth. They threaded the space between the stones and stopped at the edge of the clearing, where moonlight pooled in a stone basin. Rory could not tell how close the sound was, because distance did not behave properly in the Grove. The noise belonged to the right place and the wrong time. She moved toward the basin. Her shoes sank slightly into moss that sighed. The stones here bore shallow grooves, old as language. Symbols sat half-hidden in lichen; someone had carved an arrangement of thin lines and small spirals that made the skin at the inside of her forearms prickle. The Heartstone pulsed once, then twice, then again, each beat warm and certain. Near a Hel portal, the Heartstone would not merely glow, it would insist. The pendant urged, like a compass with an opinion. Rory crouched, breath loud in her ears. She slid two fingers past the silver chain and pressed the pendant into the carved groove on the stone. It heated so that she could feel it through the metal; warmth bled up her wrist and met the crescent scar. The scar shivered, a ribbon of memory. Her teeth tightened. She had expected heat. She had not expected recognition. Something answered the touch, not with sound but with a movement of air that smelled suddenly of iron and old paper. The wildflowers swayed as if a hand had cupped them. The robin called once and then, impossibly, spoke a word like it had been taught to speak human. "Rory." The syllable did not belong to the bird. It came from the throat of a tree, then from the grass, then directly into the bones behind her teeth. She pulled her hand back as if stung. The pendant left a faint red mark on the stone where it had rested, a thumbnail-sized bruise of light. The Heartstone flared, quick and bright, then retreated into its regular hush. A footstep near the stones. Close enough that she could have reached out and touched the newcomer if she had not been busy measuring escape routes in her head. "Who are you?" she asked. Questions had rhythm; that kept her from sounding like someone speaking to spirits in a graveyard. "Who do you think?" The voice was silk and gravel. It used too many of her names at once, nicknames overlapping in a way that felt like someone riffling through private drawers. "Laila. Malphora. Aurora." The last name hit like ice. A person cannot speak a private name and still be a stranger. If this thing knew Malphora, it knew the six-year-old hiding in a wardrobe, knew the woman who had once dared to sign essays under an invented surname to keep a professor from finding her. Knowing a name called for a certain intimacy, and intimacy was dangerous in the Grove. She stood. Her knees made a small, distracted sound. "If you want something, speak plainly," she said. "I don't have time for riddles tonight." Plain speech was a weapon that had never failed her, not with managers, not with exes. It had a way of corralling people. The voice laughed like a drawer full of coins. "I want what you carry," it said. "Bring it here." "That is not happening." Saying it steadied her. Saying it made a line. You did not hand over a thing that might be a portal key to a stranger in an oak clearing. A shadow detached itself from the circle of trees and slid forward, an outline without a face, as if someone had painted the idea of a person and left the colour off. It moved without rustling. The air around it held its breath. Rory could not make the shadow out in detail; the brain obliged by filling in faces that were not there—her father's jaw, her mother's mouth, Evan's smug certainty—but each apparition blurred when she blinked. The pendant pulsed faster, as if impatient. "Why there is fear," the shadow said, voice shaped like an old radio, "some require understanding. Others require blood. Which are you? Which are you, Aurora Carter of Cardiff?" She did not flinch at her full name. People had used it to shape her identity into neat boxes and fines. Faces in the dark could not claim more of her. "Neither," she said. "I am a delivery driver. I am not much of anything else tonight." The shadow's edges shifted. It leaned in, not with hostility, but with a curious hunger. "Then why do you carry the Heartstone? Who gave it to you?" That should have been simple. The truth was a jagged thing with splinters: a stranger left the pendant with no note, no face; it had arrived unannounced. Saying that now would sound like the tale of someone who had stumbled through an antique shop and come home with a cursed painting. She kept the truth to a shape that would not bleed. "An anonymous stranger," she said. "It was left for me." "Convenient." The shadow made the word long. "And yet you found the Grove. You come to a Hel portal alone. You press a thing into a stone like a child fitting a coin into a wishing fountain. Why?" Because curiosity had teeth and it had bitten. Because the pendant pulsed like a throat. Because someone had decided to plant a path and watch what she did. Because she did not want to run and then wonder. Because being cool-headed meant testing edges. She did not speak these reasons. A twig snapped somewhere to her left. The sound was too slow. Flora shifted to expose another set of tracks. They were tiny, not quite human, not quite beast, impressions that led from the ring of trees toward a hollow between the stones. The tracks had the neatness of someone who had practised walking without leaving a story, and yet they overlapped with prints that looked peculiarly familiar, like the shape of a child's shoe she once owned. The Heartstone thrummed against the carved light on the stone. It wanted something, and that wanting spread along the silver chain like a current. Rory flicked her eyes toward escape, to the path that had led her here. She saw then that the stones had inched ever so slightly, closer like slow teeth closing in a careful jaw. There was no sound to accompany the motion, no snap, merely a suggestion of movement that rubbed the skin the same way a shadow would. The path she had taken back was not the same as the one in front. Routes rearranged themselves in the Grove as if geography were polite and adjusted for moods. "I asked you a question," the voice said. "Will you give it?" She heard wetness in the voice now, like breathing through cloth. It was nearer. The shadow's outline pooled moonlight like oil. A hand, if one could call it that, shaped itself from the darkness and licked at the rim of the basin. Its fingers were too long, and when it moved it left a cold track on the air. "No," she said. Two syllables, solid. Enough to carve a place for her feet. The shadow's laugh had a sound like wind going through a pipe. "Then we will take it." It moved with the speed of a decision. A shape leapt from the trees, faster than the eye wished to process. Rory's body reacted without permission: she twisted, tried to shove the pendant deeper to her throat, to use her hand as shield. Cold, sudden as river water, closed around her wrist, not the stone and not the shadow, something living and too slick for the grove floor. The Heartstone skittered in its chain and struck the basin, a bright, annoyed chime that seemed far too musical for the place. A voice, close now, not a whisper but a press, said one word in a tone that unmade her bones. "Malphora." A hand that tasted of river and winter closed on her arm. The night rewrote its rules in a single movement. A pressure pressed at her sternum like a fist of wind. The standing stones held their breath, and the world thinned to the sound of the pendant hitting stone and the throb of something ancient waking. Rory yanked her arm. Her shoulder screamed. Roots somewhere sighed. The pendant flared a light that tasted of iron and old grief. The hand tightened, patient and certain. She had asked for answers and fate had delivered its appetite. The ground beneath the basin gave, not collapsing but unzipping in a slow seam that smelled of peat and the cold mouth of the earth. Something wet and dark shifted in the hollow, a motion like a throat unhooking. "Give it to us," the shadow said, no longer a voice in the dark, but a chorus from the tree, the grass, the stone itself. Rory's breath came short, a plead disguised as an action. She shoved her other hand toward the pendant. She would not hand it to whatever wanted it, but she would not let it be wrenched away. Her fingers clutched silver, the chain slick. The Heartstone burned with a rage she did not own. The hand tightened, and the Grove made a small, hungry sound, like someone clearing their throat before telling you the end of a story.
created_at"2026-02-19T12:27:36.966Z" 2/19/2026, 12:27:36 PM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency11582
moderation_latency(null)
generation_time59271
tokens_prompt4560
tokens_completion4215
native_tokens_prompt4064
native_tokens_completion4396
native_tokens_completion_images0
native_tokens_reasoning1728
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"
usage0.008944
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_0fea541475887c5301699701b912908195b4102c6ba2d65458"
is_byokfalse
latency227
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504056-hkxY2aOqgeMHR8XOKsaK"
upstream_id"resp_0fea541475887c5301699701b912908195b4102c6ba2d65458"
total_cost0.008944
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
totalTags14
adverbTagCount0
adverbTags(empty)
dialogueSentences25
tagDensity0.56
leniency1
rawRatio0
effectiveRatio0
92.98% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2138
totalAiIsmAdverbs3
found
0
adverb"slightly"
count1
1
adverb"suddenly"
count1
2
adverb"ever so slightly"
count1
highlights
0"slightly"
1"suddenly"
2"ever so slightly"
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)
62.58% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2138
totalAiIsms16
found
0
word"warmth"
count3
1
word"measured"
count1
2
word"pulsed"
count4
3
word"gloom"
count1
4
word"footsteps"
count1
5
word"could feel"
count1
6
word"silk"
count1
7
word"familiar"
count1
8
word"flicked"
count1
9
word"whisper"
count1
10
word"throb"
count1
highlights
0"warmth"
1"measured"
2"pulsed"
3"gloom"
4"footsteps"
5"could feel"
6"silk"
7"familiar"
8"flicked"
9"whisper"
10"throb"
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
narrationSentences158
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences158
filterMatches
0"watch"
hedgeMatches
0"seemed to"
1"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences168
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2129
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions44
wordCount1980
uniqueNames18
maxNameDensity0.61
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Heartstone"
discoveredNames
Aurora1
Heartstone9
Portobello1
Road1
Isolde1
Grove6
Rory12
Earth1
Fae1
Laila1
Richmond1
Hel1
Questions1
Malphora1
Plain1
Saying3
Evan1
Two1
persons
0"Aurora"
1"Heartstone"
2"Isolde"
3"Rory"
4"Laila"
5"Questions"
6"Evan"
places
0"Portobello"
1"Road"
2"Grove"
3"Richmond"
4"Hel"
globalScore1
windowScore1
33.72% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences129
glossingSentenceCount6
matches
0"smelled like perfume at the edge of memory"
1"sounded like paper folded, like someone te"
2"felt like drawing a curtain"
3"felt like someone riffling through priv"
4"not quite human, not quite beast, impressions that led from the ring of trees toward a hollow between the stones"
5"not quite beast, impressions that led from the ring of trees toward a hollow between the stones"
6"seemed far too musical for the place"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches6
per1kWords2.818
wordCount2129
matches
0"not know but someone, somewhere, did"
1"Not the easy laugh of someone sharing a joke, but a thin child's laugh, as if the darkness itself had been tau"
2"not with sound but with a movement of air"
3"not with hostility, but with a curious hunger"
4"not a whisper but a press, said one word in a tone"
5"not collapsing but unzipping in a slow seam"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences168
matches
0"use that name"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs48
mean44.35
std25.33
cv0.571
sampleLengths
028
192
264
381
449
575
613
762
827
969
1063
1184
1266
1349
1429
1568
1621
1735
1867
1924
2032
2110
2233
2384
2429
2547
2627
2762
2810
2938
3050
3178
3224
3389
3412
3559
3614
3717
3890
3920
401
4157
4228
4311
4439
4525
4653
4724
98.60% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences158
matches
0"been written"
1"been taught"
2"been taught"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs328
matches(empty)
40.82% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount6
flaggedSentences6
totalSentences168
ratio0.036
matches
0"Time folded wrong as soon as she passed the last oak; the air stretched, like elastic, and her watch blinked the same time twice."
1"Symbols sat half-hidden in lichen; someone had carved an arrangement of thin lines and small spirals that made the skin at the inside of her forearms prickle."
2"It heated so that she could feel it through the metal; warmth bled up her wrist and met the crescent scar."
3"Questions had rhythm; that kept her from sounding like someone speaking to spirits in a graveyard."
4"Rory could not make the shadow out in detail; the brain obliged by filling in faces that were not there—her father's jaw, her mother's mouth, Evan's smug certainty—but each apparition blurred when she blinked."
5"The truth was a jagged thing with splinters: a stranger left the pendant with no note, no face; it had arrived unannounced."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1989
adjectiveStacks0
stackExamples(empty)
adverbCount67
adverbRatio0.033685268979386625
lyAdverbCount15
lyAdverbRatio0.007541478129713424
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences168
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences168
mean12.67
std7.98
cv0.63
sampleLengths
028
123
216
336
46
58
63
78
812
924
106
1114
1212
138
1421
1518
169
177
186
1911
2020
2113
225
239
2425
252
268
2731
2813
294
3025
3122
3211
3318
349
357
3614
3717
3816
3915
404
418
4222
4318
4411
455
468
479
4827
4913
43.85% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.30952380952380953
totalSentences168
uniqueOpeners52
22.22% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences150
matches
0"Only a handful of people"
ratio0.007
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount45
totalSentences150
matches
0"She told herself that was"
1"They smelled like perfume at"
2"She shoved it into her"
3"She had not come to"
4"She had come to trace"
5"She fingered it without thinking"
6"Her mouth shaped words she"
7"She squinted through the gloom"
8"It sounded like paper folded,"
9"She did not use that"
10"She answered aloud, because remaining"
11"she said, and her voice"
12"It sounded as though she"
13"Her breath came out in"
14"They threaded the space between"
15"She moved toward the basin."
16"Her shoes sank slightly into"
17"She slid two fingers past"
18"It heated so that she"
19"Her teeth tightened."
ratio0.3
30.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount129
totalSentences150
matches
0"The pendant thudded against her"
1"An hour earlier the Heartstone"
2"A warmth for a portal"
3"The unknown benefactor had written"
4"She told herself that was"
5"That was a delivery driver"
6"That was reason."
7"Wildflowers, impossibly bright and careless,"
8"They smelled like perfume at"
9"Time folded wrong as soon"
10"She shoved it into her"
11"Electronics meant little between Earth"
12"The Grove kept its secrets"
13"Sounds arrived thinly, as if"
14"A robin called with a"
15"Leaves made a soft, repetitive"
16"Rory kept her shoulders down"
17"She had not come to"
18"She had come to trace"
19"The Heartstone pulsed, a faint"
ratio0.86
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount6
totalSentences150
matches
0"If this thing knew Malphora,"
1"Because curiosity had teeth and"
2"Because the pendant pulsed like"
3"Because someone had decided to"
4"Because she did not want"
5"Because being cool-headed meant testing"
ratio0.04
22.38% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences83
technicalSentenceCount14
matches
0"The pendant thudded against her sternum, an impatient heartbeat pressed beneath her jacket, and Aurora kept moving between the standing stones as if momentum co…"
1"An hour earlier the Heartstone had warmed in her pocket on Portobello Road, a faint, almost embarrassed heat that made her fingers tense."
2"Leaves made a soft, repetitive sound that could have been whispering, or a sewing machine half-remembering a stitch."
3"She squinted through the gloom and saw only a shift of wildflowers at the edge of her vision, as if the flora herself had taken a small step to the right."
4"Symbols sat half-hidden in lichen; someone had carved an arrangement of thin lines and small spirals that made the skin at the inside of her forearms prickle."
5"Questions had rhythm; that kept her from sounding like someone speaking to spirits in a graveyard."
6"It used too many of her names at once, nicknames overlapping in a way that felt like someone riffling through private drawers."
7"If this thing knew Malphora, it knew the six-year-old hiding in a wardrobe, knew the woman who had once dared to sign essays under an invented surname to keep a…"
8"Rory could not make the shadow out in detail; the brain obliged by filling in faces that were not there—her father's jaw, her mother's mouth, Evan's smug certai…"
9"The tracks had the neatness of someone who had practised walking without leaving a story, and yet they overlapped with prints that looked peculiarly familiar, l…"
10"Rory flicked her eyes toward escape, to the path that had led her here."
11"Routes rearranged themselves in the Grove as if geography were polite and adjusted for moods."
12"The Heartstone skittered in its chain and struck the basin, a bright, annoyed chime that seemed far too musical for the place."
13"The ground beneath the basin gave, not collapsing but unzipping in a slow seam that smelled of peat and the cold mouth of the earth."
89.29% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags14
uselessAdditionCount1
matches
0"the shadow said, voice shaped like an old radio,"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount0
fancyTags(empty)
dialogueSentences25
tagDensity0.4
leniency0.8
rawRatio0
effectiveRatio0
81.2145%