Run: 2026-02-19-01KHTY6FT0BARJDNBP86BG1YKN

Run Details

Model:
GPT-5.2
Duration:
1m 19s
Cost:
$0.044828
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
Aurora’s boot scraped against the nearest oak standing stone and sent a dry shiver through the ground. “Brilliant,” she muttered, and steadied herself with a palm on the rough, ancient surface. The silver chain of the Heartstone Pendant tugged against her throat as the gem warmed, a slow pulse that matched her heartbeat for three beats, then didn’t. It fell out of rhythm, like a clock that refused to agree on the hour. She lifted her hand from the stone. Grit clung to her skin, and under it a fine slickness, like sap. The scent hit after, sweet and green and wrong, as if someone had boiled wildflowers down to syrup and left it to rot in a closed jar. The boundary waited. The old oak stones formed a broken ring around a clearing that the rest of Richmond Park pretended not to see. Aurora had walked past it before with a delivery bag on her back, a thermal pouch full of dumplings and soup, thinking it was nothing more than a private patch of trees. She had even made a joke to Eva once, something about druids and middle-class dog walkers. Tonight, nobody walked dogs. Nobody ran. Nobody lingered. Her phone had shown signal at the park gate. It showed nothing now. The screen stayed lit for an extra second when she locked it, as if it wanted her to keep looking. Aurora slipped it into her pocket and checked the small crescent scar on her left wrist, the old one, the childhood accident, a pale shape that never tanned. The skin around it prickled, the same way it had done in the dentist’s chair when she’d gripped the armrest too hard. She had come for a reason. Not curiosity. Not a dare. Not some late-night fantasy of London turning magical if you stared at it long enough. The Heartstone had started pulsing on her shift, halfway through a run of deliveries from Golden Empress, wedged between a greasy paper bag and her ribs. At first she thought the chain had snagged and it was just friction. Then it warmed through fabric, through skin, and stayed warm. When she glanced down, the crimson gemstone held a faint inner glow, a glow that didn’t flicker with the streetlights. And warmth near a Hel portal, that was what the note had said. She hadn’t liked the note. She hadn’t liked that it arrived with the pendant in the first place, no return address, no name, just a clean strip of paper in careful black ink, as if someone had practised the letters until they lost all personality. When near a Hel portal, it warms. Don’t let it choose for you. That last line had sat in her pocket like a live coal all day. Don’t let it choose for you. As if it had a will. As if she didn’t. Aurora drew in a breath. The air tasted different inside the ring, sharper, like bruised leaves. She stepped over the invisible line between stones. Her foot landed on grass that felt too soft, the ground giving like a mattress. The wildflowers looked painted at first glance, bright colours that didn’t belong in any season she knew, and they turned their heads in unison as she moved, not towards her face, but towards her throat. The Heartstone grew warmer. “All right,” she said, quiet but firm, as if speaking to an aggressive dog. “No games.” The clearing stayed silent. Not peaceful silence. Not the sort that settled on a church after the last hymn. This silence held itself taut, like a wire ready to sing if someone plucked it. Aurora took three steps deeper. The wildflowers brushed her jeans, their petals cool as damp paper. She kept her arms close to her sides to avoid snagging on anything, and because the open space around her felt staged, like a room that waited for an audience. Behind her, beyond the stones, Richmond Park existed. She could picture it without looking, the paths, the fence, the city pressing at the edges. She turned her head anyway. The stones stood where they should. The trees beyond them formed a wall of dark trunks. But the gap between the stones did not show the path she had come from. It showed more trees. More flowers. Another ring of stone in the distance, as if the grove had copied itself. Aurora’s stomach tightened. She didn’t let her feet move back. She hated the instinct to retreat. It felt like admitting the grove had teeth. “Fine,” she said. “Forward, then.” She walked. The pendant warmed in steady pulses. Each time it surged, the inner glow in the gem thickened, like blood filling a glass. At the edge of her vision something shifted, low to the ground. She snapped her gaze towards it. A rabbit, she told herself. A fox. A cat. A trick of darkness. She had lived above Silas’ bar long enough to know what darkness did to you after a long shift, how it made bins into crouching men and lampposts into hanging bodies. Nothing sat there. Only flowers, their stems pressed down as if something had crawled through them. Aurora slowed. Her shoes made no sound on the grass, and that bothered her more than it should have. Even in a park, even on damp ground, there should have been something, a scuff, a crunch. The absence made her feel like she floated. She focused on what she could control. Breathe. Count steps. Check landmarks. The grove had no landmarks. The stones behind her had blurred into the trees. She turned in a slow circle, keeping her shoulders loose. No breeze stirred the flowers. The air sat heavy and still, and yet she smelled movement, that green-sweet rot shifting around her like someone carrying a bouquet past her nose. A sound came from far away, light as a coin dropped into a well. Tick. Aurora froze. It came again. Tick. Tick. Not a watch. Not a clock. Too slow, too deliberate. Like someone tapping a fingernail against stone and waiting for her to notice. She followed it, step by careful step. The grove thickened as she walked, the flowers rising higher, reaching her knees, then her thighs. Their colours deepened, reds and blues and whites that looked too clean, too saturated, like they had never known dirt. The Heartstone pulled warmer, and the chain bit into the back of her neck. She lifted it. The pendant lay in her palm, small, deep crimson, glowing from within. It warmed her skin as if it had been held near a radiator. “Where are you?” Aurora asked it. The tick answered, closer now. She moved towards the sound. The darkness between tree trunks looked layered, not just shadow but depth, like the space held a second room behind it. Her foot caught on something hard. She stumbled, caught herself, and looked down. A ring of stones sat half-buried under flowers. Not the big oak standing stones at the boundary, but smaller ones, knee-high, set in a circle. Their surfaces held carved marks, faint grooves that spiralled in patterns that made her eyes want to slide away. The tick came from inside the ring. Aurora crouched at the edge. The ground inside the circle looked different, the grass thinner, the soil darker. Not mud, not earth, something like ash ground fine. The smell here shifted too, the sweet rot losing its edge, replaced by something cold and mineral, like iron left in rainwater. She extended her hand over the centre of the ring. The Heartstone flared hot. Not a gentle warmth now, but a burn that made her jerk her hand back. The gem’s glow thickened, and for an instant, something moved inside it, a thread of darker red that coiled like a worm. Aurora stood fast, teeth clenched, and forced her breathing steady. “Hel portal,” she said, and the words sounded wrong in this place, too blunt, too human. The tick stopped. Silence poured in, heavy enough to press on her ears. She could hear her own blood, a soft roar, and beneath it a second sound, faint, distant, the hush-hush of something sliding over stone. Something moved behind her. Not a rustle. Not a footstep. A shift of weight, as if the grove itself leaned in to see her. Aurora didn’t turn. She held the pendant tight in her palm until the chain cut a thin line into her fingers. “Show yourself,” she said. Her voice carried, then dropped dead, as if the air swallowed it. A whisper brushed her ear, close enough that she felt it as much as she heard it. “Laila.” Aurora turned, fast. No one stood there. Trees, flowers, darkness between trunks. The whisper came again, this time from the opposite side of the ring. “Rory.” Her skin tightened across her arms. That one had her name, the one only friends used, the one that sat like a hand on her shoulder. The grove had no right to it. “You don’t get to call me that,” she said. The flowers nearest her bent, not with wind, but as if something passed between them. A narrow path opened, stems parting with soft wet sounds. Aurora’s mouth went dry. She did not follow the path. She stepped back from it, keeping the stone ring between herself and whatever had made it. Her heel hit the edge of the circle. A tremor ran through the stones, tiny but real, and the carved grooves caught the pendant’s red light for a blink, then faded. The whisper stopped. In its place came a faint sound like distant laughter, too high to be adult, too slow to be a child. It looped, repeating the same three notes, like a music box catching on a broken tooth. Aurora swallowed. She forced herself to look down again at the centre of the ring. The soil rippled. Not like wind over grass. Like skin over a muscle. She stepped away, slow, careful, as if sudden movement would invite pursuit. Her gaze flicked to the boundary stones, to any sign of the way she had come, to anything that wasn’t this circle. Trees filled every direction. Flowers leaned in, watching. The pendant pulsed, and she felt a tug, not on the chain but on her attention, like a hand pulling her chin back towards the ring. “Don’t let it choose for you,” she said, spitting the line out like a curse. The laughter stopped. A voice answered, clearer now, low and smooth, coming from everywhere and nowhere. “Then choose.” Aurora stiffened. She kept her face still, her expression flat, the way she had learned to do with Evan in Cardiff, when his temper rose and he watched her for flinches he could use. She refused to give the grove that satisfaction. “Open,” she said, and hated herself for speaking into the dark like she expected it to obey. The soil inside the ring sank by a fraction. The air above it distorted, as if someone held a sheet of glass at an angle. The mineral smell sharpened, and beneath it came another scent, clean and cold, like deep underground, like stone that had never seen light. The Heartstone burned her palm. She bit the inside of her cheek to keep from dropping it. In the warped air above the circle, a shape formed, not a doorway yet, but an outline, a suggestion of edges. Darkness gathered there, thick as ink. Aurora took another step back. Her foot met resistance, not stone, not root, something soft but firm. A hand closed around her ankle. She looked down and saw fingers, pale as candlewax, emerging from the flowers. Too long. Too many knuckles. The nails looked like polished bone. Aurora yanked her leg up. The grip tightened. The hand pulled, and her balance tipped. She slammed her free foot down on the wrist of the thing holding her, hard. The hand didn’t flinch. It flexed, as if testing her weight. Another hand broke through the flowers at her other side, reaching for her left wrist. The scar there tingled, then burned, as if the old injury woke and remembered pain. Aurora snapped her arm back, but the fingers brushed her skin, and cold spread up her veins in a fast line. The voice returned, closer now, and it sounded amused. “Malphora.” The name hit like a slap, intimate and filthy, a name she had never given anyone. Aurora’s grip on the Heartstone tightened until her knuckles whitened. The gem flared, crimson light spilling across the stone ring, and the warped air above it tore open with a sound like cloth ripping. Darkness yawned wide. And something on the other side inhaled.
created_at"2026-02-19T12:32:33.096Z" 2/19/2026, 12:32:33 PM
model"openai/gpt-5.2-20251211"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency6483
moderation_latency(null)
generation_time78532
tokens_prompt4560
tokens_completion3633
native_tokens_prompt4064
native_tokens_completion3126
native_tokens_completion_images0
native_tokens_reasoning449
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"
usage0.044828
router(null)
provider_responses
0
endpoint_id"f00142c2-6a93-49ce-9e36-5593b904ce3b"
id"resp_03430628afe22e6001699702e12b0c81958a6d656e56688624"
is_byokfalse
latency156
model_permaslug"openai/gpt-5.2-20251211"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504353-2w3qwNdNWSOpqlINodYF"
upstream_id"resp_03430628afe22e6001699702e12b0c81958a6d656e56688624"
total_cost0.044828
cache_discount0.006048
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
totalTags10
adverbTagCount0
adverbTags(empty)
dialogueSentences15
tagDensity0.667
leniency1
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2132
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)
64.82% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2132
totalAiIsms15
found
0
word"pulse"
count1
1
word"flicker"
count1
2
word"warmth"
count2
3
word"silence"
count3
4
word"stomach"
count1
5
word"weight"
count2
6
word"whisper"
count3
7
word"flicked"
count1
8
word"pulsed"
count1
highlights
0"pulse"
1"flicker"
2"warmth"
3"silence"
4"stomach"
5"weight"
6"whisper"
7"flicked"
8"pulsed"
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
emotionTells1
narrationSentences202
matches
0"felt a tug"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences202
filterMatches
0"feel"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences208
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen40
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2126
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions1
matches
0"A rabbit, she told herself."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions43
wordCount2065
uniqueNames13
maxNameDensity0.97
worstName"Aurora"
maxWindowNameDensity2
worstWindowName"Aurora"
discoveredNames
Heartstone7
Pendant1
Richmond2
Park2
Eva1
London1
Golden1
Empress1
Hel2
Evan1
Cardiff1
Aurora20
Tick3
persons
0"Heartstone"
1"Pendant"
2"Eva"
3"Empress"
4"Evan"
5"Aurora"
6"Tick"
places
0"Richmond"
1"Park"
2"London"
3"Golden"
4"Hel"
5"Cardiff"
globalScore1
windowScore1
52.34% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences128
glossingSentenceCount5
matches
0"as if speaking to an aggressive dog"
1"felt like admitting the grove had teeth"
2"something like ash ground fine"
3"looked like polished bone"
4"as if testing her weight"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches9
per1kWords4.233
wordCount2126
matches
0"not towards her face, but towards her throat"
1"not just shadow but depth, like the space held a second room behind it"
2"Not the big oak standing stones at the boundary, but smaller ones, knee-high, set in a circle"
3"Not a gentle warmth now, but a burn"
4"not with wind, but as if something passed between them"
5"not on the chain but on her attention, like a hand pulling her chin back towards"
6"not a doorway yet, but an outline, a suggestion of edges"
7"not stone, not root, something soft but firm"
8"not root, something soft but firm"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences208
matches
0"clearing that the"
1"liked that it"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs102
mean20.84
std16.02
cv0.769
sampleLengths
017
114
242
347
472
58
633
750
826
969
1013
1145
1213
1330
1424
1550
164
1716
184
1930
2046
2129
2216
2335
2424
255
2624
2718
2844
2916
3044
3112
3254
3314
341
352
363
372
3823
3943
4014
4128
426
435
4426
4513
4644
477
4849
4910
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences202
matches
0"been held"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs358
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences208
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount825
adjectiveStacks0
stackExamples(empty)
adverbCount19
adverbRatio0.02303030303030303
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences208
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences208
mean10.22
std7.78
cv0.761
sampleLengths
017
114
227
315
47
513
627
73
821
932
1016
114
122
132
149
154
1620
1728
1822
196
202
213
2215
2326
2413
2510
2620
2713
285
2940
307
316
3214
336
346
354
365
3711
388
3915
4035
414
4214
432
444
453
4612
4715
485
4911
37.50% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats26
diversityRatio0.25
totalSentences208
uniqueOpeners52
73.66% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences181
matches
0"Then it warmed through fabric,"
1"Only flowers, their stems pressed"
2"Too slow, too deliberate."
3"Too many knuckles."
ratio0.022
98.45% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount55
totalSentences181
matches
0"she muttered, and steadied herself"
1"It fell out of rhythm,"
2"She lifted her hand from"
3"She had even made a"
4"Her phone had shown signal"
5"It showed nothing now."
6"She had come for a"
7"She hadn’t liked the note."
8"She hadn’t liked that it"
9"She stepped over the invisible"
10"Her foot landed on grass"
11"she said, quiet but firm,"
12"She kept her arms close"
13"She could picture it without"
14"She turned her head anyway."
15"It showed more trees."
16"She didn’t let her feet"
17"She hated the instinct to"
18"It felt like admitting the"
19"She snapped her gaze towards"
ratio0.304
56.69% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount146
totalSentences181
matches
0"Aurora’s boot scraped against the"
1"she muttered, and steadied herself"
2"The silver chain of the"
3"It fell out of rhythm,"
4"She lifted her hand from"
5"Grit clung to her skin,"
6"The scent hit after, sweet"
7"The boundary waited."
8"The old oak stones formed"
9"Aurora had walked past it"
10"She had even made a"
11"Tonight, nobody walked dogs."
12"Her phone had shown signal"
13"It showed nothing now."
14"The screen stayed lit for"
15"Aurora slipped it into her"
16"The skin around it prickled,"
17"She had come for a"
18"The Heartstone had started pulsing"
19"She hadn’t liked the note."
ratio0.807
82.87% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences181
matches
0"As if it had a"
1"As if she didn’t."
2"Even in a park, even"
ratio0.017
84.72% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences86
technicalSentenceCount7
matches
0"The silver chain of the Heartstone Pendant tugged against her throat as the gem warmed, a slow pulse that matched her heartbeat for three beats, then didn’t."
1"The scent hit after, sweet and green and wrong, as if someone had boiled wildflowers down to syrup and left it to rot in a closed jar."
2"She hadn’t liked that it arrived with the pendant in the first place, no return address, no name, just a clean strip of paper in careful black ink, as if someon…"
3"The wildflowers looked painted at first glance, bright colours that didn’t belong in any season she knew, and they turned their heads in unison as she moved, no…"
4"Their colours deepened, reds and blues and whites that looked too clean, too saturated, like they had never known dirt."
5"Not a gentle warmth now, but a burn that made her jerk her hand back."
6"The mineral smell sharpened, and beneath it came another scent, clean and cold, like deep underground, like stone that had never seen light."
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags10
uselessAdditionCount2
matches
0"she said, quiet but firm, as if speaking to an aggressive dog"
1"she said, and the words sounded wrong in this place, too blunt, too human"
94.44% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount1
fancyTags
0"she muttered (mutter)"
dialogueSentences15
tagDensity0.6
leniency1
rawRatio0.111
effectiveRatio0.111
85.6834%