Run: 2026-02-19-01KHTY8GYQJ9CQPJNABDTAGXQP

Run Details

Model:
GPT-5
Duration:
5m 10s
Cost:
$0.066976
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 silver chain caught on bark and snapped against her collarbone as she squeezed between two oak monoliths. The pendant thudded once, hot as a fresh bruise. She had come because of a note stapled to a delivery docket, a neat little square of cream paper that smelled faintly of mothballs and violets. Richmond Grove, it read in tight block letters, bring the Heartstone, come alone. The handwriting looked like it wanted to pass inspection. The words did not. The clearing opened like a held breath. The standing oaks, some of them too broad to hug even with outstretched arms, formed a circle with roots that looked like sleeping serpents. Wildflowers scattered the grass where no wildflowers should have survived, small starry throats in whites and blues and teeth-red, their stalks fuzzed with soft hairs that caught on her boots as if in greeting. Faint light came from nowhere sensible. It made edges sharpen and middles soften. The Heartstone stirred again against her sternum, a pulse that did not match the one in her neck. Her fingers went to it without thinking. It felt smooth and alive. No one at Golden Empress had seen under the note. Yu-Fei had stacked foil containers, money counted swift and tidy, and smiled with the kind of smile that made you behave. Aurora had slipped the paper into her pocket and told no one. Silence travelled faster than gossip, in the right lanes. Something moved at the rim of her vision. She turned her head. A small moth twitched among the flowers. It had too many wings. She kept walking. The oaks watched, their bark ridged like old knuckles. Her palm skimmed one and came away with a slick of sap the colour of weak tea. The smell clawed at her with notes of iron and crushed mint, old pennies forgotten in a damp drawer. The air pressed close, not cold, not warm, occupied. A branch clicked somewhere above. She paused and looked up. Nothing obvious. The canopy knitted tight enough that only thin skeins let anything through. A bead of moisture dropped from somewhere and broke on her cheek. She tasted wood and something that did not belong to any tree. The pendant heated, an insistent throb that urged her left. She obeyed in small degrees, cool-headed even with adrenaline squirming, mapping her steps with the sort of care she used on sketchy stairwells and worse clients. The trick with bad ideas lay in deciding where to step and when to run. Halfway to the heart of the circle, she heard laughter. It came from the left, close and low, a girl's laugh cut short in its own mouth. It made her skin quiver like a plucked string. She stopped. Her throat swelled with her own voice before she had given it permission, but she kept it neat. "Isolde?" The trees held themselves still. The laugh did not come again. The wildflowers angled micro-faces to her. She had never met Isolde. People spoke her name as if it had teeth. Some called the place hers, in the same tone used for pirate coves and condemned houses. "Fine. Show me." Her voice came back to her late, too late. It sounded like a film out of sync, lips moving before words arrived. Her shoulders tightened. She laced her fingers behind her head for a beat, then dropped them. Reflex. The pendant beat warmth into the meat of her chest, steady now, insistent now, the pace of a jogger hung at a red light. The first oak she had brushed stood where it always had. The second did not. She had marked a twist of its bark with a scrape from her ring. It should have been to her right. It now crouched to her left, a fraction of a turn different, as if the whole circle had flexed while she blinked. The flowers below it made a shy rustling sound. Leaves whispered without moving. "Eva would love this," she said, and then shut up at once. Names did things, here. The desire to fill the hush sat in her mouth like a stone. She turned it over with her tongue and spat it into the grass. She took out her phone. The battery indicator informed her of a health she did not trust. No signal bars. Of course. She opened the notepad app and typed the time. Her own handwriting turned to little blocks and then to letters again. She tasted metal. A distant engine rumbled, heavy and slow, like an aeroplane laying its belly against the city. The sound stretched and grew thin, drew itself across the clearing like spun sugar, and then it snapped back to a clean, brief roar. She checked the notepad. The time had skipped forward six minutes. Her fingers had not stopped moving in that span. "Stop it," she said. Not to the phone. To the place. The answer came as a breath across the back of her neck, light as a cat's tail. She slammed her elbow back and met nothing. The space behind her grinned. "Enough games." Her words drifted to her in their own time. The tail of the last consonant caught on something, as if snagging on a nail. The pendant warmed until it hurt. The warmth ran into her bones and set up house. She reached the centre of the ring. The grass gave underfoot with the peel and pull of a damp rug. The ground changed there. It felt thick and sprung, as if something coiled below it had shifted to accommodate her weight. The wildflowers crowded closer. Their faces looked too eager. Faint light caught in the silver outlines of spiderwebs that made maps from branch to branch. A lone blackbird scolded and then forgot how to finish the phrase. The Heartstone brightened, snagging her like a hook. Under its glow, the world drained of its own colours until bark looked like old photographs and her hands like someone else's. The pendant was the only proper red. It had no business glowing in a place that made its own decisions about light. It did. "Come alone," she said, speaking the note to the empty air. "I did." A reply lifted from the grass, sibilant, fond in the wrong way. "Alone." Her hands curled. Her left thumb found the small crescent scar on her right wrist, the old smooth ridge that had never quite faded after that childhood accident with the broken jam jar. She stroked it and found herself anchored, ridiculous and human inside an old place that knew better. She kneeled and put her palm flat to the ground. The skin there felt warm, the way a seat holds a trace of whoever just left. Below the warmth, something ticked. Not a clock. Too wet for that. A living metronome, an organ pumping against earth. The heat from the pendant sharpened, not pain yet, but with intentions. She unhooked the chain and held the gem in her fist. Light seeped through her fingers. Its glow licked the webbing between them, red on brown skin, made thin shadows of her knuckles. The warmth soothed as a hot water bottle and threatened like a kettle left singing too long. "Where," she said. It came out as air. There. The word did not happen inside her head. It opened in the hollow of her right ear with the intimacy of a whisper that did not need breath. She turned her head. A hawthorn arched low to the ground just beyond the inner ring. It had not existed a moment before. It looked old enough to remember blankets as currency and apples as dowries. Its thorns were pale, almost clear, like fish bones held to light. Tiny blossoms clustered along its cords, each a perfect five-petalled star, each wet as if licked. Their drop-sweet scent rode under the iron and mint. Her mouth filled with saliva. She ducked beneath the hawthorn. The bark snagged a lock of hair and held it until she spoke out loud. "Let go." A soft click, and it did. She pulled free and entered the little hollow under the thorn. The sound of the clearing leaned away, like someone stepping out of conversation. Here, a pool sat in a stone dish no wider than a dinner plate. Water beat invisible against its sides. The surface did not ripple. Her face hung there, too clear. Bright blue eyes, a smudge of crushed earth beneath one cheekbone, mouth thinned to pragmatism. The face learned her expressions late. Her reflection blinked. She had not. Her gut climbed her ribs. She reached for the edge of the dish and found it warm and unpleasantly yielding, not stone at all. Bark? Bone? It pushed back. She held the Heartstone close to the water. The red bled into the surface in slow fingers, and the water refused to accept it. A thin skin quivered and flinched. Then, with the politeness of a door on oiled hinges, the pool opened. Not inwards. Backwards. A seam unzipped across air. The light in the hollow went thin and stringy and then dense as unlit glass. The smell that came through ruled nothing that grew on this side. Cold rose like a thought and pushed against her gums. Frost bloomed in her sinuses and then withdrew, embarrassed. The hear-it of a crowd swelled, too far to touch, and with no voices in it. Something scraped the threshold like claws unhappy with their length. The pendant burned against her fingers with a hound's impatience at the line of a field. Behind her, leaves made a sound like someone smoothing a dress. She did not look. Forward held her. The crackled-glass slit in the air held. Along its edges, the world kissed the world and found no purchase. "Rory," someone said, as to a lover kept waiting. The name dropped like hot sugar onto a plate. Then, with a spiteful little lift, "Laila." Then, softer still, in a child's voice she had not used in fifteen years, "Aurora." She set her teeth against reply. Names did things, here. Names raised dogs and old gods both. She held the Heartstone to the seam. The seam thickened, brightening with a red drawn from under the world rather than from this side of it, a colour as old as spilt blood and older than that. The standing oaks spoke to one another in roots and pushed her boot soles askew. The hawthorn shook itself without moving, a ripple that travelled its length as if a hand had passed over all its flowers. Pollen stung her eyes. Water made no sound on the leaf litter, and yet her ankles chilled as if she had stepped into a stream. "Give it back," the voice whispered, as coaxing as sugar on a rim. "Malphora." No one living knew that name for her. It did not fit and it did. The hollow budded with shadows. Little things flicked their bodies along the inside of the thorn arch and pretended to be leaves. The reflection in the pool copied her stillness and did not copy the tremor in her hands. "No," she said, simple as a closing hand. She lifted the gem a fraction higher. The seams of the hollow tightened. The world to the left of the slit slurred a little, like paint brushed in the wrong direction. Through the gap, something breathed and did not breathe. The birds in the Grove did not chirp. They knew when not to. She remembered walking past tourists who fed the wrong animals for the wrong reasons in this park and thought how small they were, her old problems, how sharp and human. This was a different calculus. When she had run from Evan, from the slam of doors and the hissed apologies, she had brought nothing but money, papers, hands that did not shake. Now she held a thumbnail of Dymas in her fist, the word Hel on the underside of her tongue like a blister. "Time's up," said the world beyond in the shape of a woman she would not yet look at. The words came from inside the gap, and the taste of them was grave dirt and alder sap. "I decide my time," she said. The seam shivered. Light coiled and tightened. The pendant leached heat that made her skin damp. The hawthorn's scent went sickly and then righted itself. An animal noise ticked from the crack, not a growl, not a purr, an under-voice that pinned spine to marrow. She stood, because kneeling conceded ground. She set her feet and pulled the chain back around her neck, because her hands had already made that decision. The silver lay cool, then warm, then a brand she would answer to later. The step back to the circle felt like stepping off a kerb you had not seen. Her stomach knocked her heart. The oaks loomed. The ring no longer held polite space. She had the odd sense of standing in someone's hex, chalk lines sealed with spit, even though no chalk had ever survived here. A shape moved between two trunks. It came as a sliver, then as an outline trisected by branches, then as a figure, the wrong size by a degree most eyes missed. It stopped with the neatness of someone finishing arithmetic. It had a woman's shoulders, a long old coat that had once been nice, and hair that hung heavy as wet rope. Its face waited in the dark created by the shapes of other darks. "You are late," it said. The voice belonged to no one she knew and to every auntie who had ever caught her bruised and made her lie about steps and newel posts. It had a smile in it and teeth behind the smile. "You sent the note?" Her mouth worked fine. Her pulse did not. "The note found you. Notes know the way. You came because you want what comes next." "I came to end a problem." A soft, pleased hum. "You brought it, then." "It?" She let the foolishness of that word sit between them. It told her how she had judged the figure already as something with superior etiquette and no scruples. "The little old crimson Dymas heart. What else do you have worth this walk?" The thing made a small gesture of her kind and bled light across her fingers without light touching them. "Give it here, Malphora." Aurora's hands stayed at her sides. One thumb grazed the scar. The chain rested against skin sticky with sweat. She could feel the Heartstone's shape as if it had imprinted on her. "You're not Isolde," she said. "Isolde is no one's. Isolde is a place when she wants a place and a woman when she takes that shape and a rumour when men need to explain where they left their good cufflinks. I am sufficient for you. Give." The clearing caught its breath. The small windy sigh of the city beyond the park, the rumour of roads and late voices, lost itself at the boundary of bark. Time in her pocket phone walked forward, tripped, and stood up again as if nothing had happened. Aurora took one step back. The ground under her heel softened. Roots shifted, a warning disguised as indulgence. The figure's head cocked, interested as a heron watching a flick in water. She pictured, briefly, the warm fug of Silas's bar below her flat, the glass that smelt of citrus and gin, Yu-Fei's voice counting in Cantonese, steadiness dressed as song. Those rooms belonged to a world with clean laws. This cleared throat of a wood wrote its own. The figure moved. It moved without asking permission of space. One instant it stood across from her, the next its coat brushed bark a breath from her shoulder. She had not seen the in between. The air it brought smelt of cool basements, of lye soap and something animal kept too long indoors. A hand came up. Not a woman's hand, not in the ways that mattered. The nails shone clear as hawthorn thorns, curved with a thoughtful arc. The knuckles had a second set of knuckles impossible for bone. It reached for the chain as if to lift a necklace from a friend who had asked for help unclasping. Rory's body answered before she finished the thought. She twisted, stamped down and forward. The roots tried to cradle, then realised her intent and gave her traction. Her shoulder took the brunt of the movement. She drove it into the figure's midline. The coat felt full of sticks. The figure gave just a little and made a pleased noise, as if made of reeds that liked to be bent. The chain went tight around her throat. Fingers that were not fingers caught it and tugged. Silver bit. She got both hands under it in time to save her carotids from being neatly closed. She smelled old rain in cellars and saw, in the tightmost part of the figure's shadow, something look out at her with the wrong number of eyes. "Give," the voice said, right against her cheek now, as intimate as a bite. The seam in the hollow under the hawthorn exhaled. The red quivered to white, the white to something that had no name and no place to stick language. The lean-in from the gap took the sound in the ring and laid it flat. Something, not wind, hit the clearing from the open crack like a slap. The hawthorn shed all at once. Five-petalled stars fell thick as rain. The figure's coat flared, its hair lifted with a slow, tidal motion, and the chain in Aurora's fists ripped forward with a force that did not come from the hands in front of her. The Heartstone tore free of her grip. The clearing screamed. Not aloud. Sap screamed, and stone screamed, and the red flower faces curved back on themselves in a silent chorus of oh. The seam yawned, an unhinging. Breathless, dragged, Aurora saw the gem hang for a tiny measure of time and then fly toward the gap as if yanked on a fisherman's line. She threw herself after it. She did not plan the movement. Her body chose, and the rest of her ran to keep up. Her boots skidded on crushed petals and old bark, and the figure's hand snapped shut on the back of her coat and missed. The edge of the hawthorn caught her shoulder like a fishhook and she ripped through it, flesh laced with sting. The stone dish split its circle open again as if grinning wider to taste what came. The silver chain went taut in her hands, cut into her palms, and the world beyond the seam reached out with a cold that had a direction and a pair of hands. They closed on her wrists and pulled.
created_at"2026-02-19T12:33:39.812Z" 2/19/2026, 12:33:39 PM
model"openai/gpt-5-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency12937
moderation_latency(null)
generation_time310300
tokens_prompt4560
tokens_completion5662
native_tokens_prompt4064
native_tokens_completion6636
native_tokens_completion_images0
native_tokens_reasoning2688
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"
usage0.066976
router(null)
provider_responses
0
endpoint_id"7c2f859a-7890-4e8e-b1de-1cd1c0a800b4"
id"resp_0d1bad740c6a223e0169970323eae48190bde3f66a739ca42f"
is_byokfalse
latency183
model_permaslug"openai/gpt-5-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504419-J7To8Mp3sXM5Efn6k118"
upstream_id"resp_0d1bad740c6a223e0169970323eae48190bde3f66a739ca42f"
total_cost0.066976
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
totalTags16
adverbTagCount0
adverbTags(empty)
dialogueSentences28
tagDensity0.571
leniency1
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount3166
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)
65.26% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount3166
totalAiIsms22
found
0
word"pulse"
count2
1
word"silence"
count1
2
word"throb"
count1
3
word"warmth"
count4
4
word"desire"
count1
5
word"weight"
count1
6
word"pumping"
count1
7
word"whisper"
count1
8
word"perfect"
count1
9
word"quivered"
count2
10
word"chilled"
count1
11
word"flicked"
count1
12
word"grave"
count1
13
word"stomach"
count1
14
word"loomed"
count1
15
word"sense of"
count1
16
word"could feel"
count1
highlights
0"pulse"
1"silence"
2"throb"
3"warmth"
4"desire"
5"weight"
6"pumping"
7"whisper"
8"perfect"
9"quivered"
10"chilled"
11"flicked"
12"grave"
13"stomach"
14"loomed"
15"sense of"
16"could feel"
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
narrationSentences283
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences283
filterMatches
0"look"
hedgeMatches
0"tended to"
1"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences295
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen41
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords3155
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions14
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions27
wordCount3024
uniqueNames13
maxNameDensity0.23
worstName"Heartstone"
maxWindowNameDensity1
worstWindowName"Heartstone"
discoveredNames
Grove2
Heartstone7
Golden1
Empress1
Isolde1
Names3
Evan1
Dymas1
Hel1
Aurora5
Silas1
Yu-Fei2
Cantonese1
persons
0"Heartstone"
1"Empress"
2"Names"
3"Evan"
4"Aurora"
5"Silas"
6"Yu-Fei"
places
0"Grove"
1"Golden"
2"Cantonese"
globalScore1
windowScore1
65.05% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences206
glossingSentenceCount7
matches
0"looked like it wanted to pass inspection"
1"looked like sleeping serpents"
2"sounded like a film out of sync, lips movi"
3"as if snagging on a nail"
4"looked like old photographs and her hands"
5"felt like stepping off a kerb you had n"
6"as if grinning wider to taste what came"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.317
wordCount3155
matches
0"not pain yet, but with intentions"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences295
matches
0"knew that name"
1"made that decision"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs79
mean39.94
std24.02
cv0.602
sampleLengths
027
152
278
382
424
557
648
751
836
920
101
1147
123
1363
1471
1542
1646
1760
1811
1930
202
2140
2278
2354
2413
2512
261
2750
2846
2962
308
3129
3278
3320
342
3582
3635
3743
3854
3942
4037
4140
4254
4362
4414
4554
468
4740
4897
4936
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences283
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs508
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences295
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount3035
adjectiveStacks1
stackExamples
0"perfect five-petalled star,"
adverbCount79
adverbRatio0.026029654036243823
lyAdverbCount11
lyAdverbRatio0.003624382207578254
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences295
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences295
mean10.69
std7.31
cv0.684
sampleLengths
018
19
226
313
49
54
67
724
834
96
107
1118
127
135
1410
1521
1612
179
188
194
207
215
223
239
2417
2519
269
275
285
292
3012
3112
3212
3310
3426
3515
3610
3717
389
392
4018
411
425
436
446
455
469
4716
483
499
35.08% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats44
diversityRatio0.25084745762711863
totalSentences295
uniqueOpeners74
50.13% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences266
matches
0"Too wet for that."
1"Bright blue eyes, a smudge"
2"Then, with the politeness of"
3"Then, with a spiteful little"
ratio0.015
75.64% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount96
totalSentences266
matches
0"She had come because of"
1"It made edges sharpen and"
2"Her fingers went to it"
3"It felt smooth and alive."
4"She turned her head."
5"It had too many wings."
6"She kept walking."
7"Her palm skimmed one and"
8"She paused and looked up."
9"She tasted wood and something"
10"She obeyed in small degrees,"
11"It came from the left,"
12"It made her skin quiver"
13"Her throat swelled with her"
14"She had never met Isolde."
15"Her voice came back to"
16"It sounded like a film"
17"Her shoulders tightened."
18"She laced her fingers behind"
19"She had marked a twist"
ratio0.361
14.51% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount237
totalSentences266
matches
0"The silver chain caught on"
1"The pendant thudded once, hot"
2"She had come because of"
3"Richmond Grove, it read in"
4"The handwriting looked like it"
5"The words did not."
6"The clearing opened like a"
7"The standing oaks, some of"
8"Wildflowers scattered the grass where"
9"It made edges sharpen and"
10"The Heartstone stirred again against"
11"Her fingers went to it"
12"It felt smooth and alive."
13"Yu-Fei had stacked foil containers,"
14"Aurora had slipped the paper"
15"Silence travelled faster than gossip,"
16"Something moved at the rim"
17"She turned her head."
18"A small moth twitched among"
19"It had too many wings."
ratio0.891
37.59% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences266
matches
0"To the place."
1"Now she held a thumbnail"
ratio0.008
60.21% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences121
technicalSentenceCount14
matches
0"The standing oaks, some of them too broad to hug even with outstretched arms, formed a circle with roots that looked like sleeping serpents."
1"Wildflowers scattered the grass where no wildflowers should have survived, small starry throats in whites and blues and teeth-red, their stalks fuzzed with soft…"
2"Yu-Fei had stacked foil containers, money counted swift and tidy, and smiled with the kind of smile that made you behave."
3"The tail of the last consonant caught on something, as if snagging on a nail."
4"It felt thick and sprung, as if something coiled below it had shifted to accommodate her weight."
5"Her left thumb found the small crescent scar on her right wrist, the old smooth ridge that had never quite faded after that childhood accident with the broken j…"
6"She stroked it and found herself anchored, ridiculous and human inside an old place that knew better."
7"Tiny blossoms clustered along its cords, each a perfect five-petalled star, each wet as if licked."
8"The hawthorn shook itself without moving, a ripple that travelled its length as if a hand had passed over all its flowers."
9"She remembered walking past tourists who fed the wrong animals for the wrong reasons in this park and thought how small they were, her old problems, how sharp a…"
10"An animal noise ticked from the crack, not a growl, not a purr, an under-voice that pinned spine to marrow."
11"It had a woman's shoulders, a long old coat that had once been nice, and hair that hung heavy as wet rope."
12"The red quivered to white, the white to something that had no name and no place to stick language."
13"Breathless, dragged, Aurora saw the gem hang for a tiny measure of time and then fly toward the gap as if yanked on a fisherman's line."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags16
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags11
fancyCount1
fancyTags
0"the voice whispered (whisper)"
dialogueSentences28
tagDensity0.393
leniency0.786
rawRatio0.091
effectiveRatio0.071
86.5824%