Run: 2026-02-19-01KHTYE58CX77D8DE1NHNN01ZR

Run Details

Model:
GPT-5.1
Duration:
1m 45s
Cost:
$0.052166
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction 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> <character id="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> </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 literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
"You still serve the cheap stuff in the good glasses." Silas looked up, bottle poised over the tumbler, and the voice snapped through him like a rubber band grown brittle in a drawer. He did not drop the bottle. His hand stopped a fraction short of pouring. His signet ring clicked against the glass. The man on the other side of the bar smiled without showing teeth. "Mick." "Thought you were dead," the man said. "You thought wrong." Mick Hart slid onto the stool as if his legs might give out if he stood too long. The last time Silas had seen him, Mick had broken into a run across a Prague rooftop and disappeared in a shower of brick dust. Back then he had carried himself like a man who trusted his knees. Now his shoulders folded in, coat hanging loose from a frame that looked both thinner and somehow swollen at the same time, all sharp cheekbones above a pale, padded jaw. Silas poured the whisky. The good bottle, not the cheap one. He kept his hand steady, watched the amber line climb the glass. "Still ungrateful," he said. Mick glanced at the label, lifted an eyebrow. "Maybe I judged you harshly." Silas slid the drink across. "You always did." The Raven's Nest hummed behind them, the low murmur of voices, the clink of ice, the scrape of a chair leg on scuffed wooden floor. Old maps yellowed on the walls in uneven frames, corners curled, seas mislabeled from dead empires. Black and white photographs watched from their hooks, frozen strangers clinking glasses in some other decade. The neon sign outside cast its sickly green over the entrance whenever the door opened and shut, a pulse in the corner of Silas's eye. Mick took a swallow without flinching. "So," he said. "You own the place." "For my sins." "We both know you have plenty of those." "You look worse," Silas said. "Let us start with that." Mick laughed once, a dry cough wrapped in humour. "Do I? I thought I had aged like a fine wine." "You drank like a student," Silas said. "You aged like milk." Mick tapped the glass with a fingernail. It made a thin, urgent sound. "You got old, Si." "You got something else." Mick's eyes met his. Same murky green, same little sunburst of lines at the corners, only deeper now, etched in like permanent stains. Once those eyes had sparkled with mischief over cheap pints in Notting Hill, when both of them had believed a forged passport and a steady hand could fix the world. Now they looked carved out, like someone had scooped out whatever had lived behind them and left the shell. "How long has it been?" Mick said. "You are the one who runs from rooftops." "You limped away." "Eight years," Silas said. "give or take." "Feels like someone else's life." Silas wiped an already clean patch of bar with the cloth. Old habit, something to do with his hands when the air went tight. "You walked in here by accident," he said. "Would you prefer design?" Silas looked past him, at the room. The Friday crowd had not peaked yet. Office workers surrendered their ties, tourists clutched guidebooks under tables, a pair of girls near the corner booth took photos of their cocktails as if they might vanish if not captured. No one looked at Mick. No one looked at Silas longer than it took to wave down a drink. "It is Soho," Mick said. "You cannot throw a stone without hitting regret." "You never liked Soho." "I liked you," Mick said. "Well. Once." Silas's hand paused on the cloth. "You always did talk too much after the second drink." Mick drained the first and nudged the glass forward. "Then you had better keep up." Silas poured again. The bottle felt heavier. "You are not hiding it well," he said. "What?" "Whatever dragged you in here." Mick's fingers curled around the glass. Silas watched the knuckles. No ring now. No watch. The old leather jacket gone too. Mick wore a dark wool coat a size too big, frayed at one cuff, out of place over a creased white shirt with one broken button near the throat. The shirt still screamed government issue even while everything else tried to apologise for it. "You are limping more," Mick said. "Weather," Silas said. "You hate talking about the weather." "I hate questions." "You used to love puzzles." "Then I grew up." Mick looked around. His gaze lingered on the bookshelf at the back wall, the one that hid the door to the room behind. The room where Silas kept his other life. The edges of that door fit snug, but Mick's eyes still found the seam. "Some things never change," Mick said. Silas said nothing. "So." Mick turned back. "You are a publican now." "Retired," Silas said. "You say that like retirement is a cover identity." "It is." Mick's smile tightened. "They still talk about Prague, you know." Silas resisted the urge to reach for his knee. Old pain, trained reflex. "Do they," he said. "They call it a lesson in hubris." "Can they spell it?" "You walked your team into a meat grinder." "Correction," Silas said. "I led my team where they ordered me to lead it. Then they turned the handle." "Semantics." "Survival." Mick inhaled, slow and noisy through the nose. He held the breath as if unsure what to do with it, then let it go. "I read the report," he said. "You wrote the report." "I wrote a report," Mick said. "Not the one they filed in the archives." Silas let the cloth rest. "You came in here for absolution," he said. "You always did pick the wrong priest." "You always did enjoy a martyr complex." "Why now." Mick shrugged, an ugly twist of one shoulder. "Thirsty." "And?" "And I turned a corner and your ridiculous neon bird stared me in the face," Mick said. "What did you expect me to do, keep walking?" "Yes." They looked at each other. The sounds of the bar swelled and receded around them, a tide they both ignored. "You left me on that roof," Silas said. Mick's hand tightened around the whisky. "You remember it that way." "How many ways are there to remember a door shutting in your face." "There were bullets," Mick said. "There was smoke. Your comm went dead. Everyone scattered." "You did not," Silas said. "You ran like the devil himself chased you, and you never looked back." "Looking back gets you shot." "It gets other people shot." Mick lifted the glass, stopped halfway to his mouth. "You think I do not hear it," he said. "You think I sleep." "I know you do not," Silas said. "You used to snore." Mick laughed again, that rasp. "You are still an arse." "Occupational hazard." "Of what, making mojitos for tourists." Silas leaned forward. His knee gave a little flare of complaint and settled. "What happened to you," he said. Mick emptied the glass in one swallow this time. No flinch. No appreciation. "Budget cuts," he said. "Try again." "They did not like the way I filed my expenses." Silas waited. "I took the wrong contract," Mick said. "There is no such thing as the wrong contract," Silas said. "Only the one you thought you understood." Mick's jaw worked. His tongue ran over the inside of his cheek as if tasting an old scar. "You remember Belgrade," he said. Silas remembered cold stone steps and a boy with ink-stained hands who insisted he did not know anything until the third night. "No names," Silas said. "No one cares about their names now." "I do." "Of course you do," Mick said. "That is why you open at four and close at midnight and polish glasses in between like you are scrubbing blood off them." Silas reached for another bottle. Cheaper this time. He poured it for someone down the bar without looking away from Mick. "You still deflect with cruelty," he said. "You still preach," Mick said. "Listen. After you left, after they pensioned you off with your bad knee and your nice little severance, some of us stayed. We climbed the ladder. We learned new words. Risk management. Asset realignment. Plausible deniability." "Congratulations." "When the Prague thing blew up in the papers, they needed a story," Mick said. "Brave agents. Rogue informant. Clean chain of command. You know the song." "Out of tune," Silas said. "They wanted someone at mid level to eat it if more came out," Mick went on. "Not high enough to hurt, not low enough to be innocent. I signed some papers." Silas looked at his face, at the slight tremor in his left eyelid. He waited. "They wrote your name into the blank spaces," Mick said. Silas exhaled, slow. "So you came here to tell me you stabbed me in the back eight years ago," he said. "How courageous." "You already knew," Mick said. "You read between the lines faster than anyone." "Knowing and hearing differ." "They dangled my promotion," Mick said. "My pension. My family's medical. You know how it goes." "You do not have a family." "That is not the point." "It is exactly the point," Silas said. "You traded my career for a better suit." Mick smoothed his hand over the front of his coat as if mocking himself. "Look at it," he said. "They took the suit back." "You apologise now," Silas said. "So the ledger balances." "You think this is an apology." "What is it then." Mick's eyes flicked to the door. The neon pulse washed green over his face for a second, a sick fish-belly gleam. "You always did pick good exits," he said. "Little back door. Alley access. Fire escape." "What did you bring to my door," Silas said. Mick smiled, thin and without humour. "You remember Kostas." "No," Silas said. "Liar." Silas did remember. A Greek contractor with a gold tooth and a laugh like broken glass. Bad company. Worse debts. "I thought he was dead," Silas said. "He thought you were," Mick said. "People keep making that mistake." "You owe him." "I owed him," Mick said. "Then I stopped paying." Silas felt a dull, familiar weight press against his ribs, the shape of an old pistol that lived in the safe upstairs now. "So he sent you a reminder," Silas said. Mick moved his shoulders, as if removing an invisible coat, or trying to. "You are on the old contact list," he said. "You are not on the payroll, but his people do not care about nuance. They saw your name on old files, cross referenced, found the bar. They think you and I still play for the same team." "We never played for the same team," Silas said. "Tell them that," Mick said. "Gently." Silas slid his gaze past Mick's head. Two lads in suits laughed too loudly beside the fruit machine. A woman in a red dress stirred her drink with the stem of a cherry, eyes half closed. No one watching the door. No one obvious, which meant nothing. "You led them here," Silas said. "They followed me," Mick said. "There is a difference." "Semantics," Silas said. Mick flinched, a quick shadow across his face. "I walked for an hour," he said. "I zigzagged. Doubled back. Took stupid little streets I have not taken since I was nineteen and drunk. They still kept up." "How do you know." "Because one of them coughed every time I slowed down," Mick said. "Same man, same cough, like a metronome. Tick tock. I opened your door and it stopped." Silas reached under the bar, fingers searching along the smooth wood until they found the little notch he had carved years ago. The notch lined up with the shotgun clipped to the underside. He curled his hand around the grip. Just touched it. Let go. "You should have walked somewhere else," he said. "Somewhere with a different bartender." "I thought about it," Mick said. "Then I thought about that roof." Silas watched the way his throat moved when he swallowed. "You want to die here," he said. "Who said anything about dying." "You have the look." "What look is that." "Someone who has already chosen the last bar stool." Mick sat a little straighter. "I came to warn you," he said. "They think you have the Prague files." "Do I," Silas said. "You always kept souvenirs." "That was you," Silas said. "Hotel soaps. Passport photos. Barkeeper's daughters." "Charming," Mick said. "You did not answer the question," Silas said. "Do I have reason to fear your mess." "Everyone has reason to fear my mess," Mick said. "That is the problem." The door opened. Neon washed the floor near the entrance. Three men stepped in, one after another, close enough that their shoulders brushed. No tourist shuffle. No hesitation. They moved as if they rehearsed it. Silas watched them without turning his head. The first wore a navy overcoat and carried his body like a club. The second, shorter, cast quick, sharp glances across the room, hands in his pockets. The third moved last. Grey suit, no coat, clean hair. Calm. His gaze skimmed the bar, passed over Silas as if he had never seen him before, then slid back and lodged. Mick's fingers pressed into the wood of the bar. "That is him," he said, barely shaping the words. "The cough. Listen." The first man gave a small, congested hack into his fist. Silas put the cloth down. "You are going to want to go into the back," he said. Mick did not move. "I told you," he said. "I am done running." "Then at least do it where my customers do not bleed on the floor," Silas said. The men walked deeper into the room. The one in the grey suit nodded at the tables they passed, a polite little inclination, as if he apologised in advance for any disturbance. His eyes never left the bar. "Silas Blackwood," he said, stopping two stools away. His accent flattened the vowels in odd places. Not Greek. Somewhere further east, iron curtain territory smoothed by years in London. Silas met his gaze. "You have me at a disadvantage," he said. "You retired," the man said. "You do not like disadvantages." "I make drinks," Silas said. "The only thing that disadvantages me is running out of ice." The man smiled like someone who had practised the shape in the mirror. "I am here to collect an old debt," he said. Mick shifted beside him, the stool creaking. "You can have him," Mick said. Silas did not look at him. "No," he said. "He cannot." The man in the grey suit raised his hand. The second man, the one with the quick eyes, reached inside his coat. Silas's fingers found the shotgun grip under the bar and this time he did not let go.
created_at"2026-02-19T12:36:44.436Z" 2/19/2026, 12:36:44 PM
model"openai/gpt-5.1-20251113"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency12530
moderation_latency(null)
generation_time104704
tokens_prompt4618
tokens_completion4671
native_tokens_prompt4131
native_tokens_completion5161
native_tokens_completion_images0
native_tokens_reasoning1852
native_tokens_cached4096
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"
usage0.05216575
router(null)
provider_responses
0
endpoint_id"764eb97f-8bab-4326-b29b-7a8799b00a70"
id"resp_053d9702730348d101699703dc87d8819088f781d9d6b10097"
is_byokfalse
latency175
model_permaslug"openai/gpt-5.1-20251113"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504604-eADMLw37x2dHWXvxlubm"
upstream_id"resp_053d9702730348d101699703dc87d8819088f781d9d6b10097"
total_cost0.05216575
cache_discount0.004608
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
totalTags80
adverbTagCount1
adverbTags
0"Mick turned back [back]"
dialogueSentences189
tagDensity0.423
leniency0.847
rawRatio0.013
effectiveRatio0.011
98.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2496
totalAiIsmAdverbs1
found
0
adverb"gently"
count1
highlights
0"gently"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
81.97% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2496
totalAiIsms9
found
0
word"eyebrow"
count1
1
word"pulse"
count2
2
word"etched"
count1
3
word"complex"
count1
4
word"flicked"
count1
5
word"familiar"
count1
6
word"weight"
count1
7
word"reminder"
count1
highlights
0"eyebrow"
1"pulse"
2"etched"
3"complex"
4"flicked"
5"familiar"
6"weight"
7"reminder"
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
narrationSentences210
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences210
filterMatches(empty)
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences318
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen37
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2494
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions85
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions129
wordCount1428
uniqueNames12
maxNameDensity4.06
worstName"Mick"
maxWindowNameDensity8.5
worstWindowName"Mick"
discoveredNames
Mick58
Hart1
Silas58
Prague1
Raven1
Nest1
Notting1
Hill1
Friday1
Greek2
London1
Old3
persons
0"Mick"
1"Hart"
2"Silas"
3"Raven"
4"Nest"
places
0"Prague"
1"Notting"
2"Hill"
3"London"
globalScore0
windowScore0
66.67% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences90
glossingSentenceCount3
matches
0"as if tasting an old scar"
1"as if mocking himself"
2"as if removing an invisible coat, or trying to"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.401
wordCount2494
matches
0"not on the payroll, but his people do not care about nuance"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences318
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs205
mean12.17
std13.8
cv1.134
sampleLengths
010
144
213
31
47
53
686
723
84
98
105
115
123
1382
146
157
163
178
1810
199
2011
2111
2213
234
244
2572
267
278
283
297
305
3124
328
334
3464
3513
364
377
386
3910
409
416
427
438
441
455
4665
476
483
496
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences210
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs289
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences318
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1430
adjectiveStacks1
stackExamples
0"Same murky green, same little sunburst"
adverbCount33
adverbRatio0.023076923076923078
lyAdverbCount6
lyAdverbRatio0.004195804195804196
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences318
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences318
mean7.84
std6
cv0.765
sampleLengths
010
123
26
38
47
513
61
77
83
918
1025
1113
1230
134
147
1512
164
178
185
195
203
2125
2216
2316
2425
256
263
274
283
298
305
315
329
3311
347
354
367
376
384
394
404
4119
4230
4319
447
458
463
474
483
495
40.25% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats31
diversityRatio0.2641509433962264
totalSentences318
uniqueOpeners84
80.65% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences124
matches
0"Once those eyes had sparkled"
1"Just touched it."
2"Somewhere further east, iron curtain"
ratio0.024
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount18
totalSentences124
matches
0"He did not drop the"
1"His hand stopped a fraction"
2"His signet ring clicked against"
3"He kept his hand steady,"
4"It made a thin, urgent"
5"His gaze lingered on the"
6"He held the breath as"
7"They looked at each other."
8"His knee gave a little"
9"His tongue ran over the"
10"He poured it for someone"
11"He curled his hand around"
12"They moved as if they"
13"His gaze skimmed the bar,"
14"he said, barely shaping the"
15"His eyes never left the"
16"he said, stopping two stools"
17"His accent flattened the vowels"
ratio0.145
44.68% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount103
totalSentences124
matches
0"Silas looked up, bottle poised"
1"He did not drop the"
2"His hand stopped a fraction"
3"His signet ring clicked against"
4"The man on the other"
5"the man said"
6"Mick Hart slid onto the"
7"The last time Silas had"
8"Silas poured the whisky."
9"The good bottle, not the"
10"He kept his hand steady,"
11"Mick glanced at the label,"
12"Silas slid the drink across."
13"The Raven's Nest hummed behind"
14"The neon sign outside cast"
15"Mick took a swallow without"
16"Mick laughed once, a dry"
17"Mick tapped the glass with"
18"It made a thin, urgent"
19"Mick's eyes met his."
ratio0.831
80.65% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences124
matches
0"Now his shoulders folded in,"
1"Now they looked carved out,"
ratio0.016
40.82% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences49
technicalSentenceCount7
matches
0"Now his shoulders folded in, coat hanging loose from a frame that looked both thinner and somehow swollen at the same time, all sharp cheekbones above a pale, p…"
1"Office workers surrendered their ties, tourists clutched guidebooks under tables, a pair of girls near the corner booth took photos of their cocktails as if the…"
2"Silas remembered cold stone steps and a boy with ink-stained hands who insisted he did not know anything until the third night."
3"Mick smoothed his hand over the front of his coat as if mocking himself."
4"Silas felt a dull, familiar weight press against his ribs, the shape of an old pistol that lived in the safe upstairs now."
5"Mick moved his shoulders, as if removing an invisible coat, or trying to."
6"The one in the grey suit nodded at the tables they passed, a polite little inclination, as if he apologised in advance for any disturbance."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags80
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags78
fancyCount0
fancyTags(empty)
dialogueSentences189
tagDensity0.413
leniency0.825
rawRatio0
effectiveRatio0
87.5890%