Run: 2026-02-19-01KHTY1FYP4CGT5T99RMCYXE94

Run Details

Model:
GPT-5.2
Duration:
1m 31s
Cost:
$0.057555
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 corner of a parked car, shoulder slamming metal, and kept running without breaking stride. “Stop!” Her voice cut through the traffic noise, through the hiss of tyres, through the slap of feet on wet tarmac. The suspect didn’t even glance back. A dark jacket, hood up, lean build, fast. He moved like he knew every kerb and bollard in Camden, like the city belonged to him and the law merely rented space. Quinn drove her legs harder. Her worn leather watch scraped her wrist as she pumped her arms. The strap had loosened over years of raids, doors, cuffs, blood. It held on. He darted between two taxis that braked with angry horns. Quinn followed, palm out, forcing a gap, the shoulder radio crackling against her collarbone. “Control, I’m in foot pursuit. Male, average height, dark hoodie. Heading south off Camden High Street. I need units to cut him off.” Static, then a strained reply. “Quinn, say again, you’re breaking up.” “Foot pursuit,” she snapped, and vaulted a low barrier into a narrower side street. The air tasted like diesel and damp brick. Water ran in small rivers along the gutter, carrying cigarette ends and torn flyers. Neon from a kebab shop bled colour across puddles. Somewhere behind her, someone shouted about a dropped phone. Nobody stepped in. London watched and moved on. The suspect hooked left, skidding, and nearly went down. He recovered with a dancer’s balance and sprang forward again. Quinn saw his right hand clamp something to his chest, protective. A bag. Small. Not a laptop bag, not a courier box. More like a parcel wrapped tight. She had him in reach, another ten metres. He looked back then. Just long enough to show her a pale jaw and eyes that caught the streetlight, flat and bright. He saw her sharp jaw, her set mouth, her bearing that never softened. He saw the badge clipped to her belt and he made a choice. He cut straight towards the Underground entrance. “Don’t,” Quinn breathed, and forced the word through clenched teeth as she ran. He didn’t go for the main stairs with the cameras and the commuters. He veered towards a service gate set in a soot-black wall, half-hidden behind a billboard for a West End show. The gate stood ajar, chained but loose, like someone had opened it for deliveries and forgotten to close it again. He slipped through. Quinn followed without slowing. The gap caught her hip. Metal teeth tore at her coat. She ignored it, shoved through, and the city’s noise dulled at once, as if the wall absorbed it. A narrow service alley stretched ahead, strewn with pallets and broken crates. Water dripped off fire escapes. Rats flashed in the corners, bold in the dark. The suspect’s trainers slapped puddles. He didn’t hesitate. He knew where he was going. Quinn’s torch bounced in her fist. The beam caught warning signs and graffiti tags, then the glint of a padlock hanging open. Someone had prepared a route. That thought sharpened her focus. She didn’t chase men for sport. She chased because people like him left others damaged behind them. Her mind held the file she’d started that afternoon, photographs printed on cheap paper, a young woman’s face too grey, too still, and symbols drawn in something darker than ink. The path led here. It always led somewhere foul. The suspect reached a steel door at the alley’s end, shouldered it, and vanished inside. Quinn hit it a heartbeat later. The door gave under her weight with a groan. Cold air rolled out, thick with mildew and old electricity. Her shoes found stairs, steep and slick. Her torch beam skittered over chipped tiles and old adverts plastered under grime. Underground. The footsteps ahead changed sound, from open slap to hollow thump. He was descending fast. Quinn took the stairs two at a time, hand on the rail, boots sliding. Her chest burned. The radio on her shoulder went useless, swallowed by concrete. At the bottom, the corridor widened into a disused passage, its walls tiled in dirty cream. A dark shape lurched around a corner. Quinn surged after it, torch beam stabbing forward. “Police!” she shouted. “On the ground!” The suspect didn’t comply. He sprinted into a larger space, and Quinn caught sight of the old platform beyond, its edge marked by a faded yellow line. Then she saw the movement. People stood in the shadows, not commuters, not staff. They wore coats and scarves, hoods and masks, faces turned away. A circle of bodies shifted as if they had been waiting for a signal. Stalls lined the platform where trains no longer ran. Lanterns hung from exposed girders. Glass jars gleamed. Metal trinkets caught the light. A low murmur moved through the crowd, the sound of bargaining. Quinn slowed. Not from fear, from calculation. The suspect threaded into the bodies as if they opened for him. For a moment, he became a smear of dark cloth and fast intent. Then he was gone. Quinn stepped onto the platform with her torch held steady, beam cutting through haze that smelled of incense and damp wool. She kept her shoulders square, her stance balanced. She didn’t draw her firearm. The sight of it would escalate this, and she didn’t know what “this” was yet. A man at the nearest stall lifted his chin. His eyes were wrong, too reflective, catching the torch like a cat’s. He ran his fingers across a row of small objects laid on black velvet: rings, teeth, coins stamped with unfamiliar faces. “No filming,” he said, voice casual, as if she was a tourist. “I’m not filming.” Quinn swept her light to the left, then right. She saw more stalls. Bottles filled with cloudy liquids. Bundles of dried herbs tied with twine. A cage with a dark shape inside that shifted and clicked. A woman in a long, purposeful coat moved into Quinn’s path. She stood tall, solid. Her hair sat close to her scalp, salt-and-pepper, and her gaze measured Quinn with professional interest. Quinn recognised her own reflection in that gaze and felt her stomach tighten. Then she realised it wasn’t a mirror. It was a challenge. The woman tapped her left wrist, where a worn leather watch sat against skin. “You’re off your map,” she said. “That’s a habit.” Quinn didn’t respond. Her eyes tracked past the woman’s shoulder, searching the crowd for the suspect’s hood. A bulky figure stepped up beside the woman, face covered by a scarf. He held out a hand. “Token.” Quinn’s torch stayed on his knuckles. They were scarred. The nails were blackened, as if from metalwork. “I’m police,” Quinn said. The woman’s mouth twitched, almost a smile, but it didn’t soften her. “And I’m the Queen,” she replied. “Token.” Quinn kept her voice level. “This is a public space.” The woman let out a slow breath through her nose. “Not anymore. You want to walk our floor, you pay the door. Simple.” Quinn glanced at the entrance behind her. The steel door hung open. Two more figures had drifted closer to it, not blocking, but present. The crowd kept moving, kept trading, yet the platform’s air felt charged, as if everyone listened while pretending not to. Quinn shifted her weight. She could push back to the stairs, call for units from the surface, come down with warrants and numbers. She pictured the suspect already slipping away through some side tunnel, parcel clutched tight. Her chance narrowed by the second. “What’s the token?” Quinn asked. The bulky figure raised his hand again, fingers still. Patient. Expectant. The woman leaned closer, voice lower. “Bone. Real. Not plastic. Not some charity shop trinket. You show it, you walk in. You don’t, you walk out.” Quinn’s gaze flicked to a stall on her right. A tray of white fragments lay arranged like jewellery. Teeth. Knuckles. Something longer, polished smooth. A price list written in tidy block letters, symbols instead of pounds. She kept her expression blank. “You’re selling human remains.” The vendor shrugged, as if she’d commented on tomatoes. “Everything’s got a use.” Quinn took a step sideways, as if to examine the tray, keeping her movement controlled, non-threatening. The guard followed her with his eyes. The woman’s posture remained loose, but her stance anchored the space. Quinn leaned in and picked up a small object between thumb and forefinger. A delicate, pale thing, drilled with a hole. It could have been from an animal. It could have been from anything. “How much?” Quinn asked. The vendor’s lips parted in a grin that showed gold at the back of her mouth. “Depends who you are.” Quinn put the bone piece down and reached into her pocket. She pulled out a folded note, held it where the vendor could see, then slid it onto the stall. The vendor’s hand snatched it fast, and for a moment Quinn saw a flash of ink on the inside of her wrist, a mark like a tiny stitched mouth. The vendor pushed the bone token across the velvet with two fingers. “Don’t lose it,” she said. “They’ll take something else.” Quinn closed her fist around the token. It felt too light for what it implied. She returned to the guard. He watched her palm. Quinn held the token up. He leaned in, sniffed it, as if smell proved authenticity. Then he moved aside with a shallow bow, mocking. “Welcome to the Veil Market,” he said. The words landed like a lock turning. The entrance door behind Quinn clanged shut. Not slammed, not forced, just closed with purpose. The two figures by it turned their backs, as if their job had ended. Quinn didn’t look back. She pocketed the token and stepped forward, torch angled down to avoid blinding anyone. She used her ears now. The murmur of trade. The clink of glass. A faint chime that sounded like coins but didn’t match any coin she’d heard. She moved between stalls, eyes scanning. She caught fragments of conversation. “Two drops, no more, unless you want your gums bleeding.” “Map’s wrong, love, it’s always wrong, that’s the point.” “Tell Silas the debt stands.” Silas. The name hit her like a prickle. The Raven’s Nest. Soho. Green neon sign. A bar that never showed up on the right CCTV angles. She pushed on. A narrow passage led away from the platform into what used to be a service corridor. Stalls squeezed in close here, lit by candles jammed into bottles. The smell changed. Less damp. More copper, sharp at the back of her throat. Blood, recent. A man stumbled out of a doorway on the left and almost collided with her. He clutched his forearm, and his fingers leaked red through the gaps. Quinn grabbed his jacket and pinned him to the wall before he could fall. “Who did that?” she demanded. He stared at her torch, pupils blown wide, then his gaze snapped to her face. “Not here,” he hissed. “Not here, police.” “You’ve got a knife wound.” Quinn tightened her grip. “Who cut you?” He tried to pull free. Quinn held him with a firm forearm across his chest, careful not to crush his injury. A voice came from the doorway, sharp with impatience. “Let him go. He’s the idiot, but he’s mine.” A man stepped into view, late twenties, olive skin, short curly dark hair plastered damp against his forehead. A Saint Christopher medallion swung on his chest as he moved, the silver catching candlelight. His left forearm bore a long scar, pale and raised, a story carved into skin. He held a medical bag in one hand, battered and well-used. He looked from Quinn’s badge to the bleeding man with a flick of his eyes that made the decision plain. “You dragged trouble in,” he said, Spanish edge under London grit. “Again.” Quinn released the injured man just enough for him to breathe. “You’re a medic?” she asked. The man’s mouth twisted. “I was. Now I make people stop dying.” He jerked his chin at the corridor behind Quinn. “You’re not meant to be here.” “And yet,” Quinn said, “here I am.” He took the bleeding man by the shoulder and hauled him towards the doorway. “Inside,” he ordered. The man stumbled in, leaving a smear on the tile. Quinn stepped after them, but the medic shifted to block her with his body. He didn’t square up like a brawler. He stood like someone used to keeping bodies apart, used to hands and pain and shouting. “No,” he said. Quinn held his gaze. “I’m looking for a suspect. Hooded. Carrying a parcel.” The medic’s face stayed still, but his fingers tightened on his bag handle. “Lots of people wear hoods. Lots of parcels.” “He ran down here from the street,” Quinn said. “He’s frightened.” The medic’s laugh came without humour. “Everyone’s frightened down here. That’s why we pay the door.” Quinn lowered her voice. “You know who I mean.” The medic’s eyes flicked past her shoulder, towards the market’s deeper dark. “Someone will sell you the answer,” he said. “It’ll cost more than cash.” Quinn stepped closer. “What’s your name?” The medic hesitated, and in that pause Quinn saw a man who’d watched too much blood spill for rules to matter. “Tomás,” he said, as if giving it away annoyed him. “Herrera.” Quinn filed it away. “Herrera. If my suspect hurts someone down here, that blood sits on whoever shelters him.” Herrera’s jaw worked. “You think people come to me because they’re innocent?” “I think they come to you because they can’t go to A&E,” Quinn replied. “Which means someone, somewhere, wants them hidden.” Herrera leaned in, voice low enough to vanish into the market’s murmur. “You don’t understand this place.” Quinn’s eyes hardened. “Then teach me.” A shout erupted further down the corridor. A sudden surge of bodies shoved past, stallholders grabbing jars, candles blown out by frantic hands. The market’s murmur snapped into something sharper, alarmed. Herrera’s head jerked towards the sound. “That’s not business,” he said. “That’s a warning.” Quinn pushed past him before he could stop her, boots splashing through a fresh puddle of spilled liquid that stank of rot and cloves. She rounded the corner and saw a ring of people pulled back from an open space where old station signage hung crooked. In the centre stood her suspect, hood down now, face pale and slick with sweat. He held the parcel in both hands like a relic. Opposite him, three figures blocked the only clear path forward. Their clothing looked ordinary until Quinn’s torch beam struck their hands. Each wore a thin cord wrapped around the wrist, threaded with small bone beads. Their faces stayed half-hidden, but the way they stood said they owned this corridor. The suspect’s voice cracked as he spoke, words tumbling out. “I paid. I paid last month. I brought what you wanted.” One of the figures stepped forward and held out a hand. “Give it.” The suspect clutched the parcel tighter. His gaze flicked to the crowd, then to Quinn, and for a moment relief flared. He saw a uniform, a badge, a rulebook he could hide behind. “Help me,” he pleaded. Quinn stepped into the open, torch steady, shoulders square. “Metropolitan Police,” she said. “Step away from him.” The nearest figure turned towards her. The scarf over his face didn’t hide the smile in his voice. “Oh,” he said. “The door let you in.” The crowd shifted again, not away this time, but closer, a slow tightening ring. Someone behind Quinn coughed, and the sound turned into a chant, low and rhythmic, as if the market itself began to hum. Herrera appeared at Quinn’s shoulder, breath hard. “Detective,” he said. “If you draw that badge like a sword, they’ll feed you to the tracks.” Quinn kept her eyes on the suspect. “He’s coming with me.” The suspect took one step towards her, hope desperate on his face. Then the parcel in his hands twitched. Not from his grip, but from inside. The paper bulged as if something pressed against it, and a wet cracking sound came from within, like knuckles breaking one by one. The three figures with bone cords lifted their hands in unison, palms up, and the crowd’s chant surged, louder, hungry. The parcel split open down the middle. Something black and slick pushed through the tear, unfolding like a fist opening, and Quinn’s torch beam caught an eye that wasn’t human, round and milky, rolling to fix on her as the corridor lights flickered and died.
created_at"2026-02-19T12:29:49.405Z" 2/19/2026, 12:29:49 PM
model"openai/gpt-5.2-20251211"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency9405
moderation_latency(null)
generation_time91182
tokens_prompt4663
tokens_completion4427
native_tokens_prompt4132
native_tokens_completion4041
native_tokens_completion_images0
native_tokens_reasoning406
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"
usage0.0575554
router(null)
provider_responses
0
endpoint_id"f00142c2-6a93-49ce-9e36-5593b904ce3b"
id"resp_03adaa732d8efe54016997023d80148195b50cc50e7b2e200d"
is_byokfalse
latency162
model_permaslug"openai/gpt-5.2-20251211"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504189-fJFcfjPa3q4KFbLMUFhe"
upstream_id"resp_03adaa732d8efe54016997023d80148195b50cc50e7b2e200d"
total_cost0.0575554
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
totalTags31
adverbTagCount0
adverbTags(empty)
dialogueSentences73
tagDensity0.425
leniency0.849
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2778
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
69.40% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2778
totalAiIsms17
found
0
word"glint"
count1
1
word"weight"
count2
2
word"footsteps"
count1
3
word"lurched"
count1
4
word"velvet"
count2
5
word"measured"
count1
6
word"stomach"
count1
7
word"charged"
count1
8
word"flicked"
count3
9
word"scanning"
count1
10
word"blown wide"
count1
11
word"rhythmic"
count1
12
word"flickered"
count1
highlights
0"glint"
1"weight"
2"footsteps"
3"lurched"
4"velvet"
5"measured"
6"stomach"
7"charged"
8"flicked"
9"scanning"
10"blown wide"
11"rhythmic"
12"flickered"
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
narrationSentences268
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount2
narrationSentences268
filterMatches
0"watch"
hedgeMatches
0"tried to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences309
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen38
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2771
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions31
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions74
wordCount2408
uniqueNames12
maxNameDensity2.41
worstName"Quinn"
maxWindowNameDensity6
worstWindowName"Quinn"
discoveredNames
Camden1
Underground2
West1
End1
Quinn58
Raven1
Nest1
Saint1
Christopher1
Spanish1
London2
Herrera4
persons
0"Quinn"
1"Raven"
2"Saint"
3"Christopher"
4"Spanish"
5"Herrera"
places
0"Underground"
1"West"
2"End"
3"London"
globalScore0.296
windowScore0
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences175
glossingSentenceCount3
matches
0"tasted like diesel and damp brick"
1"sounded like coins but didn’t match any co"
2"as if giving it away annoyed him"
91.74% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords1.083
wordCount2771
matches
0"not blocking, but present"
1"not away this time, but closer, a slow tightening ring"
2"Not from his grip, but from inside"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences309
matches
0"started that afternoon"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs150
mean18.47
std14.81
cv0.802
sampleLengths
017
121
237
331
424
523
65
76
814
948
1047
118
1248
137
1413
1553
163
1733
1840
1932
2056
2115
2245
231
2442
2531
266
2727
285
2967
307
3129
3249
3342
3412
3539
3631
3724
3814
399
4017
4118
421
4317
444
4512
467
4710
4810
4913
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences268
matches
0"was gone"
1"were scarred"
2"were blackened"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs451
matches
0"was going"
1"was descending"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences309
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2415
adjectiveStacks1
stackExamples
0"short curly dark hair"
adverbCount63
adverbRatio0.02608695652173913
lyAdverbCount6
lyAdverbRatio0.002484472049689441
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences309
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences309
mean8.97
std5.74
cv0.64
sampleLengths
017
121
26
38
423
55
612
711
83
910
1014
1123
125
136
1414
158
1614
179
189
193
205
219
2210
2311
242
251
268
276
288
294
3018
3113
3213
337
3413
3513
3620
3720
383
394
405
416
4218
4312
445
459
465
473
486
496
40.61% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats29
diversityRatio0.2783171521035599
totalSentences309
uniqueOpeners86
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount9
totalSentences234
matches
0"Somewhere behind her, someone shouted"
1"More like a parcel wrapped"
2"Just long enough to show"
3"Then she saw the movement."
4"Then he was gone."
5"Then she realised it wasn’t"
6"Then he moved aside with"
7"More copper, sharp at the"
8"Then the parcel in his"
ratio0.038
93.50% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount74
totalSentences234
matches
0"Her voice cut through the"
1"He moved like he knew"
2"Her worn leather watch scraped"
3"It held on."
4"He darted between two taxis"
5"she snapped, and vaulted a"
6"He recovered with a dancer’s"
7"She had him in reach,"
8"He looked back then."
9"He saw her sharp jaw,"
10"He saw the badge clipped"
11"He cut straight towards the"
12"He didn’t go for the"
13"He veered towards a service"
14"He slipped through."
15"She ignored it, shoved through,"
16"He didn’t hesitate."
17"He knew where he was"
18"She didn’t chase men for"
19"She chased because people like"
ratio0.316
7.01% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount212
totalSentences234
matches
0"Quinn clipped the corner of"
1"Her voice cut through the"
2"The suspect didn’t even glance"
3"A dark jacket, hood up,"
4"He moved like he knew"
5"Quinn drove her legs harder."
6"Her worn leather watch scraped"
7"The strap had loosened over"
8"It held on."
9"He darted between two taxis"
10"Quinn followed, palm out, forcing"
11"Static, then a strained reply."
12"she snapped, and vaulted a"
13"The air tasted like diesel"
14"Water ran in small rivers"
15"Neon from a kebab shop"
16"Nobody stepped in."
17"London watched and moved on."
18"The suspect hooked left, skidding,"
19"He recovered with a dancer’s"
ratio0.906
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences234
matches(empty)
ratio0
87.91% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences104
technicalSentenceCount8
matches
0"The crowd kept moving, kept trading, yet the platform’s air felt charged, as if everyone listened while pretending not to."
1"Quinn took a step sideways, as if to examine the tray, keeping her movement controlled, non-threatening."
2"The vendor’s lips parted in a grin that showed gold at the back of her mouth."
3"The two figures by it turned their backs, as if their job had ended."
4"He looked from Quinn’s badge to the bleeding man with a flick of his eyes that made the decision plain."
5"Someone behind Quinn coughed, and the sound turned into a chant, low and rhythmic, as if the market itself began to hum."
6"The paper bulged as if something pressed against it, and a wet cracking sound came from within, like knuckles breaking one by one."
7"Something black and slick pushed through the tear, unfolding like a fist opening, and Quinn’s torch beam caught an eye that wasn’t human, round and milky, rolli…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags31
uselessAdditionCount1
matches
0"he said, as if giving it away annoyed him"
54.11% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags27
fancyCount7
fancyTags
0"she snapped (snap)"
1"Quinn breathed (breathe)"
2"she shouted (shout)"
3"she demanded (demand)"
4"he hissed (hiss)"
5"he ordered (order)"
6"he pleaded (plead)"
dialogueSentences73
tagDensity0.37
leniency0.74
rawRatio0.259
effectiveRatio0.192
84.6096%