Run: 2026-02-19-01KHTY7DKB9MFG7K33EPJY751Q

Run Details

Model:
GPT-5
Duration:
4m 16s
Cost:
$0.057426
Provider:
OpenAI

Model input

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

Model response

AI
The pendant burned a thumbprint through my shirt the instant I stepped between the oaks. I caught it with my palm and hissed. The chain had warmed, the small deep crimson gem throbbed against my skin like a second pulse. The warmth meant close. The note had said as much. Follow the heat. A door hates to be found. I switched off my phone’s torch to let my eyes settle. The ring of ancient trees felt like a bated breath. Richmond Park, only not. This was the Grove Eva joked about when we were fourteen, Isolde’s secret bit that locals named in whispers but never put on a map. I had laughed then. I did not laugh now. The pendant tugged at me, strange as a magnet on bone. I loosened the silver chain and let the stone drop to rest against my sternum. It glowed with a faint inner light, a fish heart beating in shallow water. A breath of wind did not move the grass. I swallowed the old habit of saying hello to empty places. You do not announce yourself to anything that listens. A moth tapped my ear, brisk and soft, tick-tock, then nothing. In the stillness that followed, I registered what had unsettled me from the first step. The park’s usual noise did not filter in. No distant traffic, no late laughter, no dog walkers on phones, not even the low rumble of planes that you stop hearing until they stop. Only the oaks stood and the clearing waited, and the little pendant kept time with a heartbeat that was not mine. I laced my fingers together to hide the small shake. The crescent scar on my wrist caught the light of the stone and for a breath it looked like a slit eye. I made myself breathe. In through the nose, out slow. Dad would have told me to turn round. Mum would have called me clever and then asked what my plan was, which made me keep walking, because I had one. Find the seam, see if the pendant could shut it, get out. The standing oaks formed a ragged circle. Their trunks had thick scars where lightning had kissed age upon age, burn upon burn without killing anything. The ground within was not like the park I had crossed to get here. Wildflowers bloomed in messy swathes as if spring had exploded and never left. Buttercups, foxgloves, little white stars I could not name enough to impress a gardener. Their scent tangled with something older, mint and metal at once. Blood without a body. I clicked my torch on and shaded it with my hand to keep the beam tight. The light fell on petals that closed a fraction too slow when it passed. I counted steps to keep myself from wandering. Ten to the left, check the heat. Ten across, check again. My voice would have steadied me, but sound felt like throwing bread in a lake and daring something to break the surface. The pendant warmed when I approached a hollow in the ground near one of the larger oaks. I crouched and ran my fingertips over the dip. Not a hole, not a sink. The air was cooler there, colder as I sank my hand through it, as if I had put my arm into a stream that ran upright. My fingers prickled. I pulled back at once. The grass around my knee looked wrong. Blades bent as if a foot had pressed them a moment ago. The imprint matched my boot, only reversed, heel where toe should be. I stood up and flashed the torch across the ground. More bent grass, two strides back, four to the side, a path of footsteps that had not come from me and yet wore my tread. My throat tightened. I let my mouth flood with spit to stop the dry click when I swallowed. Habit. Courtrooms, interviews, bluffs only work when you look unbothered. I stood still and listened. A drip somewhere, water where it should not be. The soft rattle of acorns in a tree without acorns. Then, somewhere behind me, the smallest laugh you can make with a closed mouth. I turned so fast the torch beam lagged. The oak nearest me wore a streak down its side where bark had been flensed in a long, thin ribbon, as if someone had drawn a knife a century ago and the tree had been trying to grow round the scar and could not quite forget. My own left wrist itched in sympathy. I pressed my thumb into the crescent until the itch eased. The pendant warmed further. You brought it. The words did not come with a voice, not exactly. They came like the moment you remember you left the gas on, a knowledge rather than a noise. I swivelled the torch, let it eat the darkness inch by inch. The beam hit a stand of flowers that had twisted their faces away, all at once, like a row of schoolchildren looking left at a teacher you could not see. The flowers did not breathe. I did. I crouched by the cool spot again. The pendant beat faster there. The glow deepened, a small crimson heartstone, thumbnail size, hum rising under my skin until it spoke in a register only my teeth could hear. Close. Here. Now. You brought it, Laila. Laila scraped along a place in me I had covered with duct tape and busyness. No one in London called me that. Only one boy in Cardiff had tried, and only once. I let the name pass through. If this place had plucked it, then it had rummaged somewhere it had no right to go. I kept my face blank and my movements efficient. If it wanted me to look frightened it could work for it. I unhooked the silver chain and held the pendant up. The light inside did not brighten the grass or the bark or my own fingers. It made a circle on the air that swallowed the torch beam instead of scattering it. I thought of the note that had come tucked in with a takeaway order last week, a plain little card sticky with curry oil and written in a hand I could not pin to age or gender. The heart answers the door I cannot close. Bring it to the Grove. Do not be late. I had not told anyone I was coming. Not Eva, not Silas, not Yu-Fei when I left the Golden Empress with a bag of dumplings I did not eat and a lie about visiting a friend in Richmond. The bus had been empty. The park had swallowed me whole. I steadied the pendant with two fingers and lowered it into the chill that ran like a vertical stream. The chain twitched like a fishline taking a tug. I pulled it back. The chain had not caught on anything, but the links had flattened, pulled taut and thin as hair for the span of a breath. I rubbed the silver and it felt warm, then cool, then warm again, as if someone else held the other end and pulsed heat into it in a rhythm meant to coax, not yank. No part of me wanted to put my hand through that seam. I needed to see. I picked a buttercup and dropped it into the cold. It went soft and black, the yellow collapsing like burnt sugar, then recovered, then withered again on a loop I could not stand to watch for more than two seconds. I let it fall sideways and hit my boot as a fresh flower. Time slips in the Grove, old local saying that you joke about when you are sober and you avoid when you are drunk. Mum used to call that sort of superstition a bone that never healed straight. It hurt in the rain. I glanced at my phone. The time read 13:07, then 02:13, then 20:20, then nonsense. No signal. I put it away. The numbers were worse than no numbers. Something moved at the far edge of the circle, beyond the last oak. I caught only its length, not its face, tall as a lamppost and thin as a man half-starved. It slid between trees without touching them. My torch beam hit bark and green and faster rustles where nothing went. Every hair on my forearms lifted. You brought it. Clever girl. I did not want to hear that in Dad’s tone, quiet with pride he held folded under his tongue until he could put it in a closing argument. The Grove had no right to wear my father. I rested my tongue against my teeth to stop the wince. I set my torch on the ground, beam angled at my boots, and pulled a length of white thread from my pocket, stupid and old-fashioned as a fairytale, but I prepared, and fairy tales are manuals if you tilt them. I tied the thread to a thin root that surfaced like a knuckle beside the cold and drew a line across the grass with chalk, a clean white stripe that broke the seam in my mind as much as on the ground. I knew where I had left my exit. I might loop right back to it or find the oak had eaten it. Either way, I had a line to follow. My breathing slowed. I lowered the pendant again. The heat brightened. The small stone thrummed. The cold spot breathed out. I heard a low moan, not human, more like the drone of a ship horn from miles off, slowed until it turned to a throat-sound. The oaks shuddered. Bark creaked. My torch rolled an inch. A whisper tugged at the back of my sleeve. I did not jump. I pivoted. No one stood there. Grass lay flat where a small hand might have been. The thread trembled from root to my wrist as if caught in a draught. My head filled with a strange smell, not mint-metal now, but crushed yew and the earthy stink of old coins held too long. The pendant heat sharpened. The seam between my fingers flexed wider without me moving. Hello, said a voice at my right ear. Not a whisper. A child’s greeting on the first day of school. I took one step sideways, slow and careful, and put my back to the oak. The open bark pressed a line of roughness through my jacket that would pattern my skin later. It grounded me. I lifted the pendant and spoke for the first time since I crossed. Who are you. Laughter unpeeled like paper. The sound came from three different points and none of them lined up with where the hair on my neck wanted me to look. The one who knocks, one said. The one who waits, said another. The one who ate your name when you gave it to a boy you did not like, said the third, quiet as a hand over a mouth. I kept my eyes on the seam. The cold had a depth now, a pane of black water in upright air. It was not dark like night, or dark like the inside of a cupboard. It was the rich black of planned absence, velvet pinned to a stage. The pendant responded to it like a lover. Heat bled along the chain and bit my throat. You do not get it, I said. I am here to close you. Silence broke into delighted chatter, like sparrows when a cat pretends to sleep. The pendant beat faster. The hum climbed to a whine that made my teeth ache, the sort of sound that drives you to slam a drawer just to stop it. Close, they chorused. Close what should not be closed. Clever. Clever clever clever. A pressure built under my feet, the earth swelling then settling as a living thing shifts in its sleep. The wildflowers trembled without breeze. Petals turned to watch me. The chalk line at my heel faded as if a drop of water had struck it from inside the ground and washed the mark away. My exit did not look as sure as it had a breath ago. I took that step I had promised myself if the wrongness grew teeth. Leave. Live. Come back with someone who knew more than myths and a pendant. I pulled on the thread. It snapped. The broken end whipped my wrist hard enough to raise a welt. My neck burned where the chain lay. The Heartstone glowed with a steady, hungry red. You cannot close a thing that loves you, the small voice said from the grass near my left boot. That did it. I shoved the pendant into the seam. Heat and cold met with a noise like a cough in a cathedral. The air widened. The upright stream turned into a mouth, not a thing with lips or teeth, just a shape wrapped in intent. For a moment, all the flowers leaned and the trees tightened and my heart threw itself against my ribs as if my body had tilted toward a fall. The oak at my back shifted a finger’s width. The darkness swelled, then pinched. Metal sang. The chain leapt. It slipped the back of my neck with a sting and tore forward so fast I did not track it, a silver line whipping into black. The pendant hung half in, half out, struggling, beat for beat, trying to decide where it belonged. Something long and thin pressed from the other side and flattened against the surface, as if a palm had come to feel the glass that was not glass. It left a shadow of fingers too many for a human hand. The groove of each pressed like a question mark. A second shadow slid up beside it. Taller. Horned. It tilted its head where my face would be, no features, only a deeper kind of absence. The pendant pulsed once, crimson lantern under a night river, then began to sink. I lunged and grabbed for the chain. My fingers closed on air. The chain went slack, then thrummed, then drew tight as it cut into the black. The shadows pushed. The oak behind me groaned and split. The mouth tore wider. Something stepped through.
created_at"2026-02-19T12:33:03.608Z" 2/19/2026, 12:33:03 PM
model"openai/gpt-5-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency10865
moderation_latency(null)
generation_time256240
tokens_prompt4560
tokens_completion4118
native_tokens_prompt4064
native_tokens_completion5681
native_tokens_completion_images0
native_tokens_reasoning2752
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"
usage0.057426
router(null)
provider_responses
0
endpoint_id"7c2f859a-7890-4e8e-b1de-1cd1c0a800b4"
id"resp_00a501616653bae801699702ffc2dc819399de41a8787668d3"
is_byokfalse
latency220
model_permaslug"openai/gpt-5-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504383-q5qCAB777wBmWulWoHZl"
upstream_id"resp_00a501616653bae801699702ffc2dc819399de41a8787668d3"
total_cost0.057426
cache_discount0.004464
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2401
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)
68.76% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2401
totalAiIsms15
found
0
word"throbbed"
count1
1
word"pulse"
count1
2
word"warmth"
count1
3
word"unsettled"
count1
4
word"footsteps"
count1
5
word"efficient"
count1
6
word"chill"
count1
7
word"pulsed"
count2
8
word"whisper"
count2
9
word"trembled"
count2
10
word"velvet"
count1
11
word"silence"
count1
highlights
0"throbbed"
1"pulse"
2"warmth"
3"unsettled"
4"footsteps"
5"efficient"
6"chill"
7"pulsed"
8"whisper"
9"trembled"
10"velvet"
11"silence"
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
emotionTells2
narrationSentences221
matches
0"d in sympathy"
1"t with pride"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount2
narrationSentences221
filterMatches
0"see"
1"look"
hedgeMatches
0"tends to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences221
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen46
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2395
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions2
unquotedAttributions1
matches
0"You do not get it, I said."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions33
wordCount2395
uniqueNames17
maxNameDensity0.25
worstName"You"
maxWindowNameDensity1
worstWindowName"Grove"
discoveredNames
Park1
Grove4
Eva2
Isolde1
Laila2
London1
Cardiff1
Silas1
Yu-Fei1
Golden1
Empress1
Richmond2
Dad2
Heartstone1
You6
Close3
Clever3
persons
0"Eva"
1"Isolde"
2"Laila"
3"Silas"
4"Dad"
5"Heartstone"
6"You"
places
0"Park"
1"Grove"
2"London"
3"Cardiff"
4"Richmond"
5"Close"
globalScore1
windowScore1
83.77% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences151
glossingSentenceCount4
matches
0"felt like a bated breath"
1"looked like a slit eye"
2"felt like throwing bread in a lake and"
3"not quite forget"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.418
wordCount2395
matches
0"not mint-metal now, but crushed yew"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences221
matches
0"planes that you"
1"took that step"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs55
mean43.55
std28.63
cv0.657
sampleLengths
015
144
259
369
480
584
681
771
861
95
1069
1163
1276
133
1477
1540
164
1776
1895
1977
2062
2169
2270
2357
245
2588
2675
2752
289
2971
3020
3148
323
3328
346
356
3627
3765
3813
3943
4013
4167
4234
4327
4419
4510
4664
479
4853
4949
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences221
matches
0"been flensed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs421
matches
0"was coming"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences221
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2401
adjectiveStacks0
stackExamples(empty)
adverbCount80
adverbRatio0.03331945022907122
lyAdverbCount10
lyAdverbRatio0.004164931278633903
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences221
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences221
mean10.84
std8.29
cv0.765
sampleLengths
015
18
217
34
46
53
66
711
810
94
1025
114
125
1311
1415
1514
169
1711
189
1911
2015
218
2225
2321
2410
2522
264
276
288
2922
3012
317
3218
3314
3413
3514
3611
374
3816
3914
408
417
424
4322
4417
459
466
4726
483
495
36.88% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats29
diversityRatio0.248868778280543
totalSentences221
uniqueOpeners55
65.04% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences205
matches
0"Only the oaks stood and"
1"More bent grass, two strides"
2"Then, somewhere behind me, the"
3"Only one boy in Cardiff"
ratio0.02
61.95% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount81
totalSentences205
matches
0"I caught it with my"
1"I switched off my phone’s"
2"I had laughed then."
3"I did not laugh now."
4"I loosened the silver chain"
5"It glowed with a faint"
6"I swallowed the old habit"
7"You do not announce yourself"
8"I laced my fingers together"
9"I made myself breathe."
10"Their trunks had thick scars"
11"Their scent tangled with something"
12"I clicked my torch on"
13"I counted steps to keep"
14"My voice would have steadied"
15"I crouched and ran my"
16"My fingers prickled."
17"I pulled back at once."
18"I stood up and flashed"
19"My throat tightened."
ratio0.395
33.17% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount175
totalSentences205
matches
0"The pendant burned a thumbprint"
1"I caught it with my"
2"The chain had warmed, the"
3"The warmth meant close."
4"The note had said as"
5"A door hates to be"
6"I switched off my phone’s"
7"The ring of ancient trees"
8"Richmond Park, only not."
9"This was the Grove Eva"
10"I had laughed then."
11"I did not laugh now."
12"The pendant tugged at me,"
13"I loosened the silver chain"
14"It glowed with a faint"
15"A breath of wind did"
16"I swallowed the old habit"
17"You do not announce yourself"
18"A moth tapped my ear,"
19"The park’s usual noise did"
ratio0.854
73.17% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences205
matches
0"If this place had plucked"
1"If it wanted me to"
2"Either way, I had a"
ratio0.015
92.86% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences100
technicalSentenceCount7
matches
0"The air was cooler there, colder as I sank my hand through it, as if I had put my arm into a stream that ran upright."
1"The oak nearest me wore a streak down its side where bark had been flensed in a long, thin ribbon, as if someone had drawn a knife a century ago and the tree ha…"
2"The beam hit a stand of flowers that had twisted their faces away, all at once, like a row of schoolchildren looking left at a teacher you could not see."
3"I thought of the note that had come tucked in with a takeaway order last week, a plain little card sticky with curry oil and written in a hand I could not pin t…"
4"I tied the thread to a thin root that surfaced like a knuckle beside the cold and drew a line across the grass with chalk, a clean white stripe that broke the s…"
5"For a moment, all the flowers leaned and the trees tightened and my heart threw itself against my ribs as if my body had tilted toward a fall."
6"Something long and thin pressed from the other side and flattened against the surface, as if a palm had come to feel the glass that was not glass."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags0
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
90.5202%