Run: 2026-02-19-01KHTY8XX5XG1F2JZ3086NCZEJ

Run Details

Duration:
1m 13s
Cost:
$0.009070
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 flared against her palm, a quick, hot pulse that felt like someone had pressed a thumb to her sternum. She had walked straight through the last ring of oak standing stones without thinking, the silver chain snagging against her collarbone. The clearing opened like a cut in the wood, wildflowers pretending to glow, and the Heartstone answered as if it recognised the ground beneath her boots. Aurora kept moving because she had a reason, because the warmth had started three nights ago in her pocket and had gotten louder on the train, a steady inner metronome that would not be ignored. She told herself the rational things—an object with a temper, a trick of memory, a prank—but reason sat small and alone behind the pendant's light. The wrongness began as sound. Not the wind through leaves, not the usual fox bark you learned to dismiss in London, but a thin, rhythmical scraping, like silk pulled over coarse wood. It traced the edge of the clearing, a fingernail on the skin of bark. Aurora stopped, the silver catching faintly, the gem's warmth thawing her fingers. Her bright blue eyes scanned the trunks, picking out knots, lichen, the odd knot-hole like a closed eye. Time inside the Grove folded in on itself; she'd read that once and mouthed the lines in the tube. Her watch read an ordinary minute. That meant nothing here. A voice unlatched from the dark, soft and close enough that the hairs on her forearm lifted. "Rory." She did not answer at first. Her name sounded like a summons, like someone tugging at the hem of a coat. The sound belonged to a childhood cadence that should have stayed behind in Cardiff, and yet it came threaded with an accent that slipped sideways. Aurora's hand went to the small crescent scar on her left wrist, fingers finding the old line as if to prove she was real. "Who is it?" she said, the words blunt. Silence folded, then something breathed through the clearing, a laugh too many notes long, like wind playing an old ruin's pipes. "Eva," the voice said, and the name was both a lure and a question. It had the shape of the friend she had fled with, the woman who had pushed her to London, who had been a lighthouse in dark rooms. The voice wore that shape and then smiled grotesquely, something about the syllables pulled wrong. Aurora's jaw tightened. She had learned, the hard way, to trust her instincts. She also knew being alone in a place that bent rules was stupid. She exhaled slowly and stepped toward the centre of the clearing. The undergrowth did not part the way it should. The grass seemed to press up against her ankles like a clammy hand. Wildflowers leaned in, faces too still, petals catching the pendant's faint inner glow and throwing it back in tiny pulses. The Heartstone answered with a warmer, steadier burn. It was a small thing, crimson like an old wound, but its warmth ate through the chill in her bones and spoke a single language: near. Her boots sank into loam that was softer than the path had been, and the sound changed to a soft, deliberate crunch. She should have left then. She should have turned, run the sensible route back through the stones while the world still matched the one she knew. Instead, she checked the pendant's chain, felt the tremor of the silver, and moved on. Something shifted at the edge of her vision, just the suggestion of movement. Aurora had the reflex of a delivery runner: split-second assessments, route planning, predicting obstacles. The movement did not read like animal. It read like attention. A pair of limbs rearranged, a shadow aligning into a shape that mimicked human posture and failed. "Eva?" she tried again, sharper, as if naming might force truth out of mimicry. The answer was a thin chorus, voices layered like old records playing out of time. Each voice took her name with slightly different inflection, one tender and childlike, one older and amused, one gravel-rough and smelling of river rot. They were not voices that came from a single throat. They threaded through the trees and tugged at memory like a hand under a dress. Aurora moved toward where the ground dipped, toward the stump where mushrooms clustered in a black ring. The Heartstone pulsed faster, the warmth pushing into her palm now, and a distant humming threaded under the other sounds—low, like something being tuned. She kept her steps small, breath measured. Cool-headed did not mean fearless. Cool-headed meant you counted risks. She found footprints that did not belong. They were small, too narrow for a man's boot, too long for a child's trainers, and the tread was odd, a repeated blossom of impressions. The soil had the sheen of something that had been there too long. It told a story without words: someone or something came through here recently and had not left. A scent rose to meet her, impossible and immediate—copper, sharp and crystalline, tanging the back of her throat. Blood, the word blinked like a warning. Her nostrils flared. She tasted iron. It was wrong for a place that should smell of leaves and rot and the honest tang of fox and moss. The Grove had turned its own pages. "You're alone," she said aloud, because silence was a thing it could fill and she wanted space inside the noise to plan. Her voice came back muffled, as if wrapped in damp cloth. A twig snapped behind her. Aurora spun. Movement flickered between two oak trunks, a thing hunched and small. It was not quite an animal, not quite a person. It held itself with the wrongness of imitation: shoulders too square for the neck, a head that inclined in a way that denied the rules of bone. A smear of pale like a face reflected moonlight and then unmade itself. She forced her eyes not to linger; staring let those things learn. "Show yourself," she said. Her fingers found the pendant and tightened. The silver bit into her skin; the gem's glow shivered stronger. Warmth spread up her wrist, and with it a certainty that the Heartstone was keyed to something beneath the Grove. Keyed to a door, or to what passed through doors. Something moved in the clearing's centre—a ripple across air, like heat above tarmac in August, although summer had nothing to do with the Grove's seasons. A shimmer opened the space between oaks, a slit that swallowed light, and the flowers nearest it bowed inward, their mouths closing. Aurora's appetite for explanation narrowed to a single bright point of attention: the pendant, and what it had brought her to. Faces pressed at the edge of that slit. Not faces so much as the memory of faces, borrowed and half-stitched. A grandmother's laugh, an old lover's scowl, a child's open curiosity. They peered out like animals at a threshold. They had eyes that reflected light in too many directions. Each time one blinked, she felt a tiny shift in the shape of the grove as if it recalibrated to contain them. "Please," said a voice that was almost kind, almost the sound of somebody offering a hand at a bus door. Aurora's hand hovered over the pendant, thumb tracing the silver. It thrummed now, not just warm but rhythmic, like a pulse in a throat. She had always imagined the unknown as dramatic, a crash of thunder, a demon unfurling. The Grove did not have the decency to be gothic. It had the cruelty of patient things. "Why are you here?" she asked, the question more practical than pleading. She pictured the flat over Silas' bar, a tea mug with a chip, the menu board at the Golden Empress. Small lives anchored her. She had not come to be admired. Something laughed, a sound like pebbles sliding down a tin roof. The forest answered with a rustle that sounded panoramic, like an audience shifting in its seats. Then there was a movement close enough to make the hair on her arms stand upright—fingers, perhaps, or roots, tangled and sinewed, bridging between trunk and earth. They reached for the light around her throat. Aurora stepped back. Her boot caught a blossom and petals stuck to rubber. The pendant's glow stabbed brighter, searing enough that she brought it up, holding it like a torch. Light pooled at the cut in the air. The faces leaned forward, not predatory, but inquisitive, like children inspecting a new toy. "Rory," the chorus intoned, this time not a voice but a thousand little voices in one, and the sound thrummed against her teeth. She had rehearsed leaving, logically and clinically. Step back, pass through the stones, keep the pendant hidden, never show what it felt like. She had also imagined confronting whatever the Grove wanted, and she had imagined herself clever, able to barter with rules. Neither rehearsal matched the sudden, clean terror of having something decide you were interesting. The Heartstone's warmth became hot, a bead of heat running along its casing, and when Aurora glanced down she saw the gem's inner glow pulse like a heartbeat, faster and faster. The slit widened. The faces thanked each other with tiny nods and then stepped through in a motion that was less arrival and more unzipping of the world. One of them, the one that took the shape of a young woman with hair like riverweed and eyes that held far too many reflections, came no closer than arm's length and then smiled as if she offered a favour. "We've missed you," she said. Aurora's mouth went dry. She had not expected tenderness dressed as trap. Her instincts told her to run, but her feet answered with another calculation. If the pendant had found a portal, if the Hel had opened here, then whatever came this way could follow her out. She could close it. She could close it and still keep the Heartstone. "How do I close it?" she asked, because questions bought time and time might buy tactics. The woman's smile widened, revealing teeth too small and too perfect. Around them the other faces leaned like flowers at a window. Their voices answered in a soft, sing-song chorus, a cadence that fit in the fossil hollows of ears. "Come home." Hands, many and thin as twigs, slipped from the slit and fastened to the edge of space, threading into the clearing like roots seeking water. They did not shake the air; they simply were. One wrapped itself around Aurora's wrist with an insistence like ivy. It was warm. It smelled of copper and old seashells. The pendant flared, so bright it seared the inside of her eyelids. Aurora's teeth clenched. She breathed in, and the voice that had been kind in three-part harmony took on a new timbre, lower and heavier and satisfied. "You're almost late," it said, and as it spoke the world rearranged. The wildflowers leaned away, the standing stones hummed under their bark, and the slit in the air widened into a mouth of velvet dark. Aurora drew back, the ivy-hand dragging across her skin. Her fingers closed on the pendant as if she could smother its light, twist it, wrench it out. The gem pulsed like someone hammering from within, like a trapped heart. The thing at the slit smiled wider, and for the first time Aurora saw teeth as teeth should not be—too many, layered like a stack of old coins. She moved the pendant forward, half an offering, half a shield. The light it threw cut a cone into the dark and the faces at the slit stilled, as if remembering how to look. "Leave," she said. The ivy tightened. The woman's smile did not answer for a moment, then unfolded into something like pity. "Not to-night," she said, and stepped through.
created_at"2026-02-19T12:33:53.068Z" 2/19/2026, 12:33:53 PM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency11053
moderation_latency(null)
generation_time72815
tokens_prompt4560
tokens_completion3591
native_tokens_prompt4064
native_tokens_completion4027
native_tokens_completion_images0
native_tokens_reasoning1536
native_tokens_cached0
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"
usage0.00907
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_040425dda1a95f110169970331291881949be6332784f3bfa8"
is_byokfalse
latency119
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504433-U9naApnp3uxekYJby3E0"
upstream_id"resp_040425dda1a95f110169970331291881949be6332784f3bfa8"
total_cost0.00907
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
0.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags14
adverbTagCount3
adverbTags
0"she tried again [again]"
1"she said aloud [aloud]"
2"said a voice that was almost kind [almost]"
dialogueSentences15
tagDensity0.933
leniency1
rawRatio0.214
effectiveRatio0.214
95.02% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2008
totalAiIsmAdverbs2
found
0
adverb"slowly"
count1
1
adverb"slightly"
count1
highlights
0"slowly"
1"slightly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
35.26% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2008
totalAiIsms26
found
0
word"pulse"
count3
1
word"warmth"
count6
2
word"silk"
count1
3
word"traced"
count1
4
word"scanned"
count1
5
word"silence"
count2
6
word"chill"
count1
7
word"pulsed"
count2
8
word"measured"
count1
9
word"crystalline"
count1
10
word"flickered"
count1
11
word"tracing"
count1
12
word"rhythmic"
count1
13
word"searing"
count1
14
word"tenderness"
count1
15
word"perfect"
count1
16
word"velvet"
count1
highlights
0"pulse"
1"warmth"
2"silk"
3"traced"
4"scanned"
5"silence"
6"chill"
7"pulsed"
8"measured"
9"crystalline"
10"flickered"
11"tracing"
12"rhythmic"
13"searing"
14"tenderness"
15"perfect"
16"velvet"
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
narrationSentences143
matches
0"felt the tremor"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount1
narrationSentences143
filterMatches
0"watch"
1"decide"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences145
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
totalWords1991
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions35
wordCount1944
uniqueNames9
maxNameDensity0.82
worstName"Aurora"
maxWindowNameDensity2
worstWindowName"Aurora"
discoveredNames
Heartstone6
London2
Grove6
Cardiff1
Silence1
August1
Aurora16
Small1
Hel1
persons
0"Heartstone"
1"Grove"
2"Silence"
3"Aurora"
4"Hel"
places
0"London"
1"Cardiff"
2"August"
globalScore1
windowScore1
22.88% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences118
glossingSentenceCount6
matches
0"felt like someone had pressed a thumb t"
1"sounded like a summons, like someone tuggi"
2"not quite an animal, not quite a person"
3"not quite a person"
4"felt like"
5"as if remembering how to look"
6"something like pity"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords2.009
wordCount1991
matches
0"not the usual fox bark you learned to dismiss in London, but a thin, rhythmical scraping, like silk pulled over coarse wo"
1"not just warm but rhythmic, like a pulse in a throat"
2"not predatory, but inquisitive, like children inspecting a new toy"
3"not a voice but a thousand little voices in one"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences145
matches
0"wore that shape"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs44
mean45.25
std27.44
cv0.606
sampleLengths
021
1107
2105
317
41
570
68
721
893
976
1063
1155
1214
1364
1458
1562
1659
1738
1875
1952
2068
2171
2220
2356
2443
2562
2652
2723
2857
2959
3040
315
3260
3316
3440
352
3667
3726
3836
3967
4034
413
4218
437
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences143
matches
0"being tuned"
1"was keyed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs337
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount7
semicolonCount4
flaggedSentences10
totalSentences145
ratio0.069
matches
0"She told herself the rational things—an object with a temper, a trick of memory, a prank—but reason sat small and alone behind the pendant's light."
1"Time inside the Grove folded in on itself; she'd read that once and mouthed the lines in the tube."
2"The Heartstone pulsed faster, the warmth pushing into her palm now, and a distant humming threaded under the other sounds—low, like something being tuned."
3"A scent rose to meet her, impossible and immediate—copper, sharp and crystalline, tanging the back of her throat."
4"She forced her eyes not to linger; staring let those things learn."
5"The silver bit into her skin; the gem's glow shivered stronger."
6"Something moved in the clearing's centre—a ripple across air, like heat above tarmac in August, although summer had nothing to do with the Grove's seasons."
7"Then there was a movement close enough to make the hair on her arms stand upright—fingers, perhaps, or roots, tangled and sinewed, bridging between trunk and earth."
8"They did not shake the air; they simply were."
9"The thing at the slit smiled wider, and for the first time Aurora saw teeth as teeth should not be—too many, layered like a stack of old coins."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1293
adjectiveStacks0
stackExamples(empty)
adverbCount45
adverbRatio0.03480278422273782
lyAdverbCount5
lyAdverbRatio0.0038669760247486465
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences145
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences145
mean13.73
std7.78
cv0.567
sampleLengths
021
121
226
335
425
55
627
714
812
918
1019
116
124
1317
141
156
1615
1725
1824
198
2021
2114
2227
2315
243
2510
2613
2711
289
2913
3020
318
3226
3322
345
3521
3615
3713
3814
397
404
4117
4214
4315
4424
4510
4615
4717
4824
497
40.34% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.2896551724137931
totalSentences145
uniqueOpeners42
47.96% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences139
matches
0"Instead, she checked the pendant's"
1"Then there was a movement"
ratio0.014
50.22% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount59
totalSentences139
matches
0"She had walked straight through"
1"She told herself the rational"
2"It traced the edge of"
3"Her bright blue eyes scanned"
4"Her watch read an ordinary"
5"She did not answer at"
6"Her name sounded like a"
7"she said, the words blunt"
8"It had the shape of"
9"She had learned, the hard"
10"She also knew being alone"
11"She exhaled slowly and stepped"
12"It was a small thing,"
13"Her boots sank into loam"
14"She should have left then."
15"She should have turned, run"
16"It read like attention."
17"she tried again, sharper, as"
18"They were not voices that"
19"They threaded through the trees"
ratio0.424
10.36% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount125
totalSentences139
matches
0"The pendant flared against her"
1"She had walked straight through"
2"The clearing opened like a"
3"Aurora kept moving because she"
4"She told herself the rational"
5"The wrongness began as sound."
6"It traced the edge of"
7"Aurora stopped, the silver catching"
8"Her bright blue eyes scanned"
9"Her watch read an ordinary"
10"That meant nothing here."
11"A voice unlatched from the"
12"She did not answer at"
13"Her name sounded like a"
14"The sound belonged to a"
15"Aurora's hand went to the"
16"she said, the words blunt"
17"Silence folded, then something breathed"
18"the voice said, and the"
19"It had the shape of"
ratio0.899
35.97% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences139
matches
0"If the pendant had found"
ratio0.007
54.57% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences89
technicalSentenceCount11
matches
0"The clearing opened like a cut in the wood, wildflowers pretending to glow, and the Heartstone answered as if it recognised the ground beneath her boots."
1"Aurora kept moving because she had a reason, because the warmth had started three nights ago in her pocket and had gotten louder on the train, a steady inner me…"
2"Aurora stopped, the silver catching faintly, the gem's warmth thawing her fingers."
3"Aurora's hand went to the small crescent scar on her left wrist, fingers finding the old line as if to prove she was real."
4"Her boots sank into loam that was softer than the path had been, and the sound changed to a soft, deliberate crunch."
5"It held itself with the wrongness of imitation: shoulders too square for the neck, a head that inclined in a way that denied the rules of bone."
6"A shimmer opened the space between oaks, a slit that swallowed light, and the flowers nearest it bowed inward, their mouths closing."
7"The faces thanked each other with tiny nods and then stepped through in a motion that was less arrival and more unzipping of the world."
8"One of them, the one that took the shape of a young woman with hair like riverweed and eyes that held far too many reflections, came no closer than arm's length…"
9"She breathed in, and the voice that had been kind in three-part harmony took on a new timbre, lower and heavier and satisfied."
10"Her fingers closed on the pendant as if she could smother its light, twist it, wrench it out."
53.57% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags14
uselessAdditionCount2
matches
0"the voice said, and the name was both a lure and a question"
1"she asked, the question more practical than pleading"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags11
fancyCount1
fancyTags
0"said a voice that was almost kind (say be)"
dialogueSentences15
tagDensity0.733
leniency1
rawRatio0.091
effectiveRatio0.091
71.5387%