Run: 2026-02-19-01KHTXXT05NZ4YWZ91PDDQY5ZB

Run Details

Model:
GPT-5.2
Duration:
2m 38s
Cost:
$0.062735
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
Quinn clipped the suspect’s heel with her boot, and he still did not go down. He stumbled, caught himself on a parking bollard, then shot her a glance that looked more like a dare than panic. Rain slicked his dark hair to his skull and turned the pavement into a mirror for the shopfront lights. He darted between two idling cars, shoulder-checking a cyclist, and vanished into a warren of side streets. Quinn kept her breathing locked down to a steady four-count. She ran like she worked, efficient, economical, no wasted swing of the arms. The worn leather strap of her watch stuck to her wrist. It ticked on, indifferent. “Stop. Police.” The word got eaten by traffic noise and the wet hiss of tyres. No one turned. A couple beneath a bus shelter looked up long enough to see a tall woman in a soaked jacket moving with military precision, then they looked away. London’s gift, the ability to pretend you had not seen anything at all. The suspect cut left through an alley behind a kebab shop. Quinn followed, boots slapping through puddles that stank of old oil and stale onions. He ducked under a half-rolled shutter and burst into a service corridor lined with bins. A metal lid clanged. Something small and sharp whistled past her cheek and shattered against brick. A thrown knife. Not a good one, cheap steel, meant to scare more than kill. Quinn did not flinch. She accelerated. He hit the far end of the corridor and kicked open a fire door that spat him out onto the main road. Camden direction, if her sense of the city held. He weaved across lanes with the kind of confidence that came from believing the traffic would make room for him. A horn blared. A cab swerved. Quinn felt the wet tug of her jacket as she followed, then the hard yank of air as a lorry blasted past close enough to steal her breath. He glanced back again, and this time she caught it, the flash of something pale in his hand, a small object on a string. Bone, polished smooth, carved with a symbol that made her eyes sting, as if she had looked at a bright welding torch. Her throat tightened. Not from the run. “Morris,” she muttered, and hated herself for it. The suspect bolted down a stairwell between two shuttered shops. A sign above it read STAFF ONLY in fading red letters. Quinn reached the top step in time to see him drop two at a time, using the rail more like a gymnast than a man in flight. She followed him into the stairwell. Damp concrete closed around her. The city noise dulled. Her footfalls took on a hollow echo, loud enough to give away distance. “Don’t,” a voice snapped from below. “Not your fight.” The suspect did not stop moving. He laughed, breathless, and the sound carried oddly, as if the stairwell amplified it. Quinn forced her pace to match. “You don’t get to choose whose fight it is.” She gained. Two steps. Then three. She could smell him now, sweat and tobacco, and something else underneath, like hot pennies. He reached a landing and palmed a panel in the wall. It should have been solid concrete. Instead it clicked, and a narrow door swung inward, revealing another set of stairs, older, narrower, the kind that belonged to infrastructure the public never saw. He slipped through. Quinn hit the door a second later and rammed it open with her shoulder. The hinges squealed. Her radio crackled at her chest, smothered by fabric. “Control, this is Detective Quinn. Foot pursuit, suspect entering service access off Camden High Street. I’m going in.” Static. A broken reply. Something about units. Something about hold position. She did not hold. The lower stairwell smelled of iron and damp rope. Water ran down the walls in thin lines, finding cracks and seams like fingers. A faded poster clung to one side, half dissolved, promising cheap theatre tickets from a decade ago. The steps under her boots changed from concrete to old stone, worn in the centre by thousands of feet. The suspect stayed just ahead, a shadow that kept slipping around corners. He knew the route. He did not glance back anymore. He did not need to. Quinn’s lungs burned. She pushed past it, locked her jaw, and drove forward. Her sharp jawline ached from keeping her teeth clenched. A bend, then a long corridor. Ahead, a circle of light fell across the floor, warmer than the cold fluorescents she had expected. Lantern light. Candlelight. She heard voices too, not the muffled rumble of the Tube, but a low, busy murmur, bartering and laughter, with an undercurrent that raised the hairs on her arms. The suspect slowed as if he had reached safety. He straightened, rolled his shoulders, and looked almost calm. Two men stepped out of the shadows beside the light. Not uniformed. Not council workers. Big, broad, wrapped in heavy coats that hung wrong, as if the fabric concealed more than flesh. One had a scar that split his eyebrow. The other wore a necklace of small bones that clacked against his throat. They blocked the corridor with casual confidence. “Token,” Scar-Brow said. The suspect lifted the pale object. “I’ve got one.” Bone-Necklace tilted his head, watching Quinn approach. “And she hasn’t.” Quinn slowed to a walk the last few metres. She kept her hands visible, but not empty, her right hovering close to the grip of her pistol beneath her jacket. “I’m police.” Scar-Brow’s mouth twitched. “Police doesn’t buy entry.” “It doesn’t need to.” Bone-Necklace sniffed, as if he could smell her badge through wet cloth. “That’s funny.” The suspect turned his back on her as if she had already ceased to exist. He stepped towards the light, token held out. Quinn’s eyes tracked him, and beyond him the corridor opened into a wide, curved space that could only be an abandoned Tube station. Old tiles lined the walls, some cracked, some painted over with new symbols that looked hand-drawn and wrong, the lines too sharp, too deliberate. Stalls clustered on the platform like a shanty town, lit by lanterns and strings of dim bulbs. People moved between them in coats and hoods and tailored suits, faces half-hidden, voices low. An underground market, busy enough to feel alive. She caught the edge of a sign, painted onto a sheet of metal, hung above the nearest stall. VEIL. The word made her stomach drop, as if some part of her had known it before her mind did. Scar-Brow held out a thick hand towards her. “No token, no market.” Quinn’s voice stayed flat. “I’m not here to shop.” Bone-Necklace shrugged. “Everyone shops. Some buy goods. Some buy information. Some buy time.” “Move.” The suspect slipped past them and into the crowd, swallowed quickly by shifting bodies. Quinn stepped forward. Scar-Brow did not move. He shifted his stance, blocking the corridor with his shoulder. A small, sharp knife glinted at his sleeve cuff. Bone-Necklace looked bored. “Turn around, detective. Go back to your clean world.” Quinn’s pulse hammered. She listened. The market noise rose and fell like surf. Somewhere, metal rang, a hammer against a bracket. A woman laughed, high and brittle. Something animal snarled, then went quiet. She had walked into a place her training did not cover. She pictured DS Morris, his last day, the file that had gone nowhere, the report that made no sense, the way the scene photos had blurred in the wrong places as if the camera had refused to record what stood in the room. She had called it corruption, then grief, then bad luck. She had never called it this. Scar-Brow’s eyes flicked to her left wrist. The leather watch. He smiled without warmth. “Nice strap. Real cow.” Quinn’s hand snapped up, not to her gun but to her badge. She held it out in the dim light. “Detective Harlow Quinn. Metropolitan Police. You’re obstructing an investigation.” Bone-Necklace leaned in, close enough that Quinn smelled clove and decay on his breath. “Investigation into what?” “A suspect I witnessed assault a cyclist and throw a knife.” Scar-Brow snorted. “Cyclist will live.” Quinn’s eyes did not leave the market beyond them. The suspect moved deeper, and she caught flashes of him between shoulders, his dark head bobbing like a buoy. “I’m going after him.” “Not without a token.” Quinn lowered her badge and raised her pistol instead, level with Scar-Brow’s chest. The corridor tightened, the sound of her own breath suddenly loud. “Last chance.” Bone-Necklace’s bored expression shifted into something sharper, a quick flit of interest. He did not reach for a weapon. He reached into his coat and pulled out a small pouch. He shook it, and something inside clicked, hard and dry. “Guns don’t do what you think they do down there.” Quinn kept the muzzle steady. “They still put holes in people.” Scar-Brow smiled wider. “People, yes.” A movement behind them, soft as a cat. Quinn did not turn her head, but her peripheral vision caught a figure stepping into the corridor from a side passage, hands up, palms out. He wore a dark jacket with damp shoulders and had olive skin that looked sallow under the lantern glow. A Saint Christopher medallion hung at his throat, swinging slightly. “Quinn,” he said, accent warm, Spanish threaded through the consonants. “Put that away before you start a war you can’t finish.” Quinn’s eyes narrowed. “Herrera.” Tomás Herrera offered a tight smile that did not reach his eyes. A scar ran along his left forearm, pale against skin that looked scraped raw by bad memories. “You’ve got mud on your boots and trouble on your face. That’s new.” “You know these men?” Scar-Brow looked at Tomás as if he had stepped on a cockroach. “Medic.” Tomás’s tone stayed mild, but a warning sat behind it. “Bouncer. Both of you. Stop posturing.” Quinn shifted her pistol a fraction, keeping Scar-Brow covered while she spoke to Tomás. “He’s my suspect. He came through here.” Tomás followed her gaze into the market. “Lots of people come through here.” “He threw a knife at my head.” Tomás’s lips thinned. “Still here though.” “Don’t play clever.” Bone-Necklace tipped his chin at Tomás. “She hasn’t got a token.” Tomás reached into his pocket and pulled out something pale, small, on a string. Bone, polished, carved. He did not offer it. He let Quinn see it. Quinn’s jaw tightened. “You’re kidding.” Tomás shook his head once. “You don’t want to go in there with nothing. You’ll get peeled.” “I don’t take handouts.” “This isn’t charity.” His eyes flicked to Scar-Brow, then back to Quinn. “It’s a leash. They’ll treat you like you’re on mine.” Quinn took a half-step closer, lowering her voice. “Why are you here?” Tomás’s gaze darted towards the market. “Someone bled and they paid in advance.” Quinn read the subtext in his tight shoulders. Someone important. Someone dangerous. Scar-Brow’s patience ran thin. “Make your choice, medic. Either she turns around or you sponsor her. Both cost you.” Tomás exhaled through his nose. He lifted the token towards Quinn. Quinn did not take it. Her hand remained on her pistol. The suspect disappeared into a knot of bodies near a stall hung with glass vials that glowed faintly, colours that should not have existed in liquid form. She felt the chase slipping away, not because she could not run, but because the rules had changed under her feet. Tomás’s voice dropped. “You follow him in there with that gun out, they’ll notice. If they notice, they’ll decide what you are.” “I’m a detective.” Tomás’s expression hardened. “Down there, you’re meat with questions.” Scar-Brow chuckled. “He’s right.” Quinn’s trigger finger eased. She did not holster the pistol, but she lowered it just enough to speak without pointing it at anyone. “Give me the token.” Tomás held it out, hesitating only a beat. “You come back out. You hear me? You don’t go looking for the centre of the market. You don’t go near the auctions.” “Auctions.” “You don’t want the list.” Quinn snatched the token. It felt warm, as if it had been against skin for hours. The carving under her thumb made her fingertips prickle. Bone-Necklace stepped aside with a flourish. “Welcome to the Veil Market, Detective Quinn.” Scar-Brow leaned in, voice low. “No filming. No badges. No morals.” Quinn slipped her pistol back under her jacket and stepped past them into the light. The station swallowed her. Lantern smoke and incense coiled together, thick enough to taste, sweet at first then bitter, like burnt sugar. Stalls crowded the platform, patched together from old doors and scaffolding. A man with silver rings displayed teeth in glass jars, labelled in neat handwriting. A woman in a smart suit held a cage with something inside that scratched at the metal with nails too long. A pair of teenagers, faces painted in chalky patterns, argued over a bundle of herbs that smelled of crushed mint and something sour. Every eye did not turn towards her, but enough did that she felt it, a subtle shift, a pause in the rhythm of bartering. People noticed her in the way prey noticed a new predator, even if the predator did not know the terrain. Quinn pushed forward, keeping her shoulders squared, her pace measured. She scanned for the suspect. He moved fast through the crowd, bumping shoulders, slipping between stalls with the ease of someone who belonged. He glanced back once, spotted her, and his mouth curved. He turned towards a stairwell at the far end of the platform, marked by a chain across it and a hand-painted sign that read PRIVATE. Quinn closed the distance, weaving around a man who sold knives laid out on black velvet, each blade etched with tight, spiralling script. She caught a smell of blood there, fresh enough to raise her heartbeat. A hand shot out from a stall and grabbed her sleeve. Quinn spun, her forearm driving down to break the grip. A girl stared up at her from beneath a hood, eyes too pale to be natural. Her fingers held Quinn’s cuff with surprising strength. “No police,” the girl hissed. Quinn tore free and kept moving. The suspect reached the chain at the private stairwell. He lifted his token to someone standing in shadow, someone taller and broader than Scar-Brow, wearing a long, old, black coat that looked like it had been cut for a different century. The figure moved, and Quinn caught the glint of something on its face, not jewellery, not metal, but a slick sheen, like wet skin over bone. The chain dropped. The suspect darted down the private stairs. Quinn lunged for the stairwell, but bodies shifted to block her, not by accident. A man stepped into her path, holding out a tray of tiny glass bottles filled with black liquid. “Luck for sale,” he said, eyes fixed on her. “Bad luck, good luck, borrowed luck. Cheap.” Quinn shoved past him. Another hand snagged her elbow. Strong. Male. She yanked free and looked back. Tomás stood a few steps behind her, face tight. “Quinn, stop.” “Move.” “That stairwell isn’t for you.” Quinn pointed at the gap the suspect had vanished through. “He’s down there.” Tomás held his hands out, palms down, calming, but his eyes darted around, tracking the crowd’s attention. “You got your chase. You got him here. That’s enough.” Quinn stepped towards the private stairwell again. A bell rang out, a harsh, metallic clang that cut through the market noise. Once. Twice. Three times. People froze. Heads turned. The lantern smoke seemed to thicken. The tall figure at the private stairs raised a hand, and the crowd parted like fabric being cut. A voice rolled across the platform, deep and amused. “Someone brought a badge to my market.” Quinn felt the token in her fist heat up, as if it had caught fire. Tomás grabbed her wrist. His grip locked, and his Saint Christopher medallion swung forward, tapping against her knuckles. “Now you’ve done it,” he said. The tall figure stepped into the lantern light, and the skin on its face rippled, as if something beneath it shifted to look out through new angles. “Detective Harlow Quinn,” it said, pronouncing each syllable like a taste. “You can follow your suspect. Or you can follow the rules.” The private stairwell yawned open behind it. From below came a sound that did not belong in any Tube station, a wet, hungry click-click, like something large testing its teeth. The crowd surged back, giving Quinn a clear path to the stairs, and the tall figure smiled wider, inviting her down.
created_at"2026-02-19T12:28:40.569Z" 2/19/2026, 12:28:40 PM
model"openai/gpt-5.2-20251211"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency6055
moderation_latency(null)
generation_time105826
tokens_prompt4663
tokens_completion5021
native_tokens_prompt4132
native_tokens_completion4411
native_tokens_completion_images0
native_tokens_reasoning710
native_tokens_cached3968
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.0627354
router(null)
provider_responses
0
endpoint_id"f00142c2-6a93-49ce-9e36-5593b904ce3b"
id"resp_0d7394eaba459c9101699701f8a92c819485f3f63ce736f265"
is_byokfalse
latency150
model_permaslug"openai/gpt-5.2-20251211"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504120-uCwTicwwWzMLXjAht2Ax"
upstream_id"resp_0d7394eaba459c9101699701f8a92c819485f3f63ce736f265"
total_cost0.0627354
cache_discount0.0062496
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
totalTags9
adverbTagCount0
adverbTags(empty)
dialogueSentences72
tagDensity0.125
leniency0.25
rawRatio0
effectiveRatio0
94.69% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2826
totalAiIsmAdverbs3
found
0
adverb"quickly"
count1
1
adverb"suddenly"
count1
2
adverb"slightly"
count1
highlights
0"quickly"
1"suddenly"
2"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)
69.92% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2826
totalAiIsms17
found
0
word"efficient"
count1
1
word"shattered"
count1
2
word"sense of"
count1
3
word"echo"
count1
4
word"eyebrow"
count1
5
word"stomach"
count1
6
word"pulse"
count1
7
word"flicked"
count2
8
word"warmth"
count1
9
word"predator"
count2
10
word"measured"
count1
11
word"scanned"
count1
12
word"velvet"
count1
13
word"etched"
count1
14
word"glint"
count1
highlights
0"efficient"
1"shattered"
2"sense of"
3"echo"
4"eyebrow"
5"stomach"
6"pulse"
7"flicked"
8"warmth"
9"predator"
10"measured"
11"scanned"
12"velvet"
13"etched"
14"glint"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences238
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount1
narrationSentences238
filterMatches
0"watch"
1"see"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences301
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen43
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2795
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions98
wordCount2395
uniqueNames11
maxNameDensity1.88
worstName"Quinn"
maxWindowNameDensity6
worstWindowName"Tomás"
discoveredNames
Tube3
Quinn45
Morris1
Scar-Brow15
Saint2
Christopher2
Spanish1
Herrera1
Tomás17
Bone-Necklace8
People3
persons
0"Quinn"
1"Morris"
2"Scar-Brow"
3"Saint"
4"Christopher"
5"Spanish"
6"Herrera"
7"Tomás"
8"Bone-Necklace"
9"People"
places(empty)
globalScore0.561
windowScore0
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences160
glossingSentenceCount1
matches
0"looked like it had been cut for a differe"
21.11% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches5
per1kWords1.789
wordCount2795
matches
0"not the muffled rumble of the Tube, but a low, busy murmur, bartering"
1"not to her gun but to her badge"
2"not holster the pistol, but she lowered it just enough to speak without pointing it at a"
3"not jewellery, not metal, but a slick sheen, like wet skin over bone"
4"not metal, but a slick sheen, like wet skin over bone"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences301
matches
0"did that she"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs148
mean18.89
std16.51
cv0.874
sampleLengths
015
157
238
32
456
540
631
76
851
934
1046
117
128
1348
1428
159
1620
1715
1821
1943
203
2126
2218
2311
244
2559
2627
2722
286
2949
3018
3153
327
333
349
3510
3630
372
387
394
4014
4123
4287
4318
441
4519
4612
479
4813
491
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences238
matches
0"got eaten"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs431
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences301
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2426
adjectiveStacks1
stackExamples
0"long, old, black coat"
adverbCount71
adverbRatio0.02926628194558945
lyAdverbCount9
lyAdverbRatio0.003709810387469085
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences301
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences301
mean9.29
std6.98
cv0.752
sampleLengths
015
121
219
317
410
513
611
74
82
913
103
1127
1213
1311
1414
1515
164
1712
183
1912
204
212
2222
239
2420
253
263
2728
2824
2922
303
314
328
3310
3411
3527
366
375
384
3913
406
413
426
4314
446
459
462
472
482
4915
43.02% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats21
diversityRatio0.26578073089701
totalSentences301
uniqueOpeners80
31.15% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences214
matches
0"Instead it clicked, and a"
1"Somewhere, metal rang, a hammer"
ratio0.009
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount61
totalSentences214
matches
0"He stumbled, caught himself on"
1"He darted between two idling"
2"She ran like she worked,"
3"It ticked on, indifferent."
4"He ducked under a half-rolled"
5"He hit the far end"
6"He weaved across lanes with"
7"He glanced back again, and"
8"Her throat tightened."
9"she muttered, and hated herself"
10"She followed him into the"
11"Her footfalls took on a"
12"He laughed, breathless, and the"
13"She could smell him now,"
14"He reached a landing and"
15"It should have been solid"
16"He slipped through."
17"Her radio crackled at her"
18"She did not hold."
19"He knew the route."
ratio0.285
30.09% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount184
totalSentences214
matches
0"Quinn clipped the suspect’s heel"
1"He stumbled, caught himself on"
2"Rain slicked his dark hair"
3"He darted between two idling"
4"Quinn kept her breathing locked"
5"She ran like she worked,"
6"The worn leather strap of"
7"It ticked on, indifferent."
8"The word got eaten by"
9"A couple beneath a bus"
10"London’s gift, the ability to"
11"The suspect cut left through"
12"Quinn followed, boots slapping through"
13"He ducked under a half-rolled"
14"A metal lid clanged."
15"Something small and sharp whistled"
16"A thrown knife."
17"Quinn did not flinch."
18"He hit the far end"
19"Camden direction, if her sense"
ratio0.86
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences214
matches(empty)
ratio0
26.10% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences104
technicalSentenceCount17
matches
0"He laughed, breathless, and the sound carried oddly, as if the stairwell amplified it."
1"Instead it clicked, and a narrow door swung inward, revealing another set of stairs, older, narrower, the kind that belonged to infrastructure the public never …"
2"She heard voices too, not the muffled rumble of the Tube, but a low, busy murmur, bartering and laughter, with an undercurrent that raised the hairs on her arms…"
3"Big, broad, wrapped in heavy coats that hung wrong, as if the fabric concealed more than flesh."
4"Bone-Necklace sniffed, as if he could smell her badge through wet cloth."
5"Quinn’s eyes tracked him, and beyond him the corridor opened into a wide, curved space that could only be an abandoned Tube station."
6"Old tiles lined the walls, some cracked, some painted over with new symbols that looked hand-drawn and wrong, the lines too sharp, too deliberate."
7"The word made her stomach drop, as if some part of her had known it before her mind did."
8"He wore a dark jacket with damp shoulders and had olive skin that looked sallow under the lantern glow."
9"Scar-Brow looked at Tomás as if he had stepped on a cockroach."
10"The suspect disappeared into a knot of bodies near a stall hung with glass vials that glowed faintly, colours that should not have existed in liquid form."
11"A pair of teenagers, faces painted in chalky patterns, argued over a bundle of herbs that smelled of crushed mint and something sour."
12"He turned towards a stairwell at the far end of the platform, marked by a chain across it and a hand-painted sign that read PRIVATE."
13"Quinn closed the distance, weaving around a man who sold knives laid out on black velvet, each blade etched with tight, spiralling script."
14"He lifted his token to someone standing in shadow, someone taller and broader than Scar-Brow, wearing a long, old, black coat that looked like it had been cut f…"
15"The tall figure stepped into the lantern light, and the skin on its face rippled, as if something beneath it shifted to look out through new angles."
16"From below came a sound that did not belong in any Tube station, a wet, hungry click-click, like something large testing its teeth."
69.44% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags9
uselessAdditionCount1
matches
0"he said, eyes fixed on her"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount3
fancyTags
0"she muttered (mutter)"
1"a voice snapped (snap)"
2"the girl hissed (hiss)"
dialogueSentences72
tagDensity0.111
leniency0.222
rawRatio0.375
effectiveRatio0.083
79.3179%