Run: 2026-02-19-01KHTYEGSP052D2E4NQBV4CEQ3

Run Details

Duration:
55.8s
Cost:
$0.009219
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Thriller 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="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</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> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</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 thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. 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
His boot hit a puddle and she felt the spray across her cheek as denim disappeared around the corner. Harlow Quinn vaulted the low wall without thinking, leather watch rasping against her wrist, and tasted the city in her mouth, diesel and rain and something iron that smelled like old secrets. A taxi horn bleated behind her. Someone shouted. Footsteps skidded. She kept going. He had been quick, quicker than the tip-off had suggested. Quick and pale and wrong in the way people who had been reborn wrong wore their faces. He carried a sack, something clanking inside. He glanced back once, saw her, and smiled like someone enjoying a private joke. That was why she could not let him vanish. Not after everything. She forced the corner and hit the green neon of The Raven's Nest full in the face. The sign buzzed, cast sickly light into the puddles. The bar's door lurched open as the suspect shoved through and the warm reek of old smoke and cheaper spirits hit her like a wall. Maps lined the walls in the low light, black and white photographs looking down like witnesses. People moved around them like furniture, shoulders and elbows and murmurs. A glass met the floor and shattered, but no one screamed. The music swallowed sound. He was already moving for the bookshelf at the back, the one everyone pretended was only decoration. She pushed through bodies, the crowd parting reluctantly, and saw him slide a book out, fingers nimble. The shelf gave with a sigh and a slit of darkness yawned behind it. She did not hesitate. She lunged for him and found only splinters. He had gone through, and the shelf swung shut like a jaw. "Stop!" she barked. The bark had to be more than noise. It had to pin him. No response. The room behind the shelf smelled of dust, of old paper, and a cold that did not belong in a bar. A narrow stair dropped away into shadow, each step carved and wet. Someone had installed the trap for people who believed secrets belonged behind books. She drew in a breath and counted. One, two, three. Military habit. She should call it in, wait for back-up, secure the entrance. She did not. Every instinct that had kept her alive for eighteen years told her to move, and an old, darker muscle—anger—drove her down. The stair folded her into a long, thin corridor. The light at the top winked out as the bookcase settled, leaving her to move by the green afterglow seeping from above and a single battered torch strapped to the wall. Water threaded across the concrete, followed by a trailing smell that made the back of her throat dry. The city unclipped itself from the polite street and descended into something older, an artery the modern maps pretended not to know. He had been heading south, not further into Soho. She followed the slick footprints that his trainers had left, a map of mistakes. The corridor ran like a vein until it opened into a cavernous shaft where steam rose from pipes and the tiled walls were black with grime. A rusted sign marked an old station name, half-lettered away. Someone had stuck a flyer over the old timetable: Veil Market, beneath Camden, tonight. Bone token required. She slowed when she saw that. Bone token required. The sign said it like a joke, but the damp made her skin prickle. She had heard rumours. The Veil Market turned up in late-night whispers at corners where the city let its underbelly breathe. An underground market of enchanted things, banned alchemical powders, whispered names for sale. She had tracked other smells that led to people who did not belong in the daylight. DS Morris had chased one of those smells three years ago and never come back the same. Not that the paperwork had called it supernatural. The paperwork called it an unexplained disappearance, and the river called it by another name when the bodies turned up. Her pulse did not thank her for the thought. She moved on. Voices rose like steam from the shaft below. Traders and purchasers, haggling in low tones. The air grew heavier, fuller, as if filled with small things waiting to be bought. She kept to the shadows and counted out the things she knew. No badge here would work like a door key. No uniform would carry the sanctity of law into a place where ancient bargains were currency. Her presence would make waves. She belonged to precinct squares and evidence rooms, not to places that traded in folded luck and teeth. The steps narrowed and a figure slipped past on the lower landing. He was slight, dark curls slick with rain, a Saint Christopher medallion catching the light when he turned his head. Tomás Herrera. She stopped. He did not. He moved with a quiet economy, an ex-paramedic's hands folded against his chest. He had the look of someone who had seen too much and chosen to thread himself into the seams of the city rather than stare at them from above. His scar along the left forearm showed where someone had tried to teach him permanence with a blade. The medallion swung. She thought of arrests, of policies. She thought of questions that couldn't wait. She thought of the file she had read on him months back, the one that said licence revoked. She had not expected to see him in the flesh at a place like this. He glanced back then, and his warm brown eyes flicked over her like he recognised trouble. "Tommy," she said. Her voice barely moved the air. He blinked, then dropped into the stairwell as if the movement had been written. He said something soft in Spanish, something like calma, and his hands were up the way a medallist's hands always were when they wanted to show they meant no harm. She was not here to admonish him. She had a man to catch. The footsteps resumed ahead, closer now. He had reached the access hatch. The door to the disused platform was a slab of iron with a ring for a handle that looked eaten by rust. He forced it with a shoulder and the smell of the tunnel broke like a wave. Beyond, an old carriage lay black in a pool of dripping light. Canvas stalls were set up in the long shadow of the platform. Lanterns swung, blue and red, and a hundred faces leaned in where the light touched. The market spread like a secret made real. The suspect ducked down into that light and vanished among the stalls. He did not exchange coins. He talked with fingers and rubbed a palm against something small and bone-coloured. The crowd devoured him. Harlow paused at the lip of the platform. The market felt like a throat. People moved around stalls that sold things she did not have words for: jars with names folded into paper, lengths of string that pulsed faintly when someone held them, knives that shone too clean for their age. Vendors wore scarves and smiles, and the eyes watching them were often too bright. She could go down. She could fight for jurisdiction in a place where rites outranked custody. She could play by law and go back up, call it all in, and wait for rubber-armoured uniforms to sweep the market like a net. But the net would never reach the hidden pockets. The suspect would slither into a stall and vanish. No. She had trained for certainty. She would follow. She spoke to the darkness before descending, because she liked to say things out loud. "This is far from headquarters," she said. "You always pick the dramatic entrances." Tomás stood where the stair narrowed, his shoulders a small wall. "You live here now?" Her voice was a blunt instrument. There was no indulgence in it. He smiled, half apology, half mischief. "I take care of the wounds." He tapped his medallion. "Sometimes the wounds are not for the police." "Then what are you doing here?" she asked. "Same as you, I think," he said. He moved aside, and the crowd closed like a skin over the platform. "Looking." A child's laugh sounded near a stall draped in feathered boas. Someone hissed a sale. The suspect had been a shadow within a shadow; now the market offered him sanctuary. She took a breath and stepped down. Every step closer revealed more. A table piled with bone trinkets shimmered under a lamplight that smelled faintly of ozone. A woman with silver hair and inked hands offered a packet of something warm for a coin, and when she smiled at Harlow, she smiled like she knew the shape of the detective's future. Harlow's jaw tightened. She kept her hand near her holster without reaching for it, because weapons did not help with bargains and occult protocols. She spotted the sack. It lay beneath a cart that sold bottled amber liquid. The sack's contents clinked in half-remembered rhythms. He had not empty-handed escaped to buy trinkets; he had delivered something. She crouched, palpable absence of smell making the bones in her ear ache, and reached for the sack. "Detective Quinn," someone said. The voice slid against her name with the ease of someone who had heard it before. It was the suspect. He sat cross-legged on top of a crate, the sack between his knees, a ring of men and women around him. "You are very far from papers and polite manners." "You are under arrest," she said. He laughed. It did not reach his eyes. "For what? Trespass? Improper possession of a bag? You carry law like a finger in a sore place. Here, law will get you nowhere." "Stand and put your hands where I can see them." He spread his palms. Small bones lay between his fingers, white and clean, threaded with a dark cord. He placed one on the crate and it rolled, slow, as if aware. The people around him hummed low. The hum made the hair on her neck stand up. The light from the lanterns flared briefly and then dimmed as if someone had exhaled. Tomás stepped closer, his voice quiet. "Harlow, those bones—" "Are evidence," she said. The word felt like armour. "Look at them." He leaned in, then hissed, and his hand came away with a smudge of ash that did not feel like ash under his fingernail. He wiped it on his sleeve. "Not bones like you think." "Show me," she said. "Not a good idea," the suspect said softly. His smile widened. "You will not like what you find." Quinn's jaw set. She made a choice. She reached for the bone to pull it into evidence, to confiscate it, to remove whatever stain it bore on the city's throat, and to do it with hands that would not tremble. Before her fingers closed, the man in the circle rose like a puppet released. He spoke a syllable that was both like a door creaking and a bell. The lantern light dimmed to a hungry thinness and the market's hum became a chant. People around them shifted and the trader with the feather boas dropped her apron. The sack at her feet untied itself as if by breath and the bones rolled out in a tidy spill, each one aligning with an invisible grid on the platform. Tomás reached for her wrist. "Don't," she said, because he always thought he could fold her caution into kindness and it never worked. The bones clicked into place and the air tasted of copper. Someone shouted a name she did not know. The lanterns swung and shadows peeled away from stalls like slips of skin. Harlow felt the world tilt, a shallow dip like a boat hitting a trough, and the light at the far end of the platform punched through to white. She had seconds. She had to decide. Follow into whatever that place opened onto and risk losing the chain of custody, risk coming into contact with things the precinct would not accept, risk everything. Or back out and call in officers who would arrive with blinkers and tape and a distance that would let the suspect melt into a market that moved on the moon's whim. She stepped forward. She did not know if she stepped because she wanted to catch him or because she wanted to see, finally, the thing that had taken Morris. She had trained to close distances. She had trained to move through thresholds. This was another threshold. Tomás's fingers touched her wrist, urgent and soft. "Quinn," he said. His voice was firm under the hum. "If you go in, you do not come out the same way. Not always." She looked at him, at the medallion that swung once, twice. The suspect watched her, the smile steady as cavalry. "Then I'll be the one who changes the terms," she said. Her hand closed on a bone where it lay exposed to the light. It was colder than the air, and when she lifted it the lanterns flared like someone had blown on them. The sound around her split into a hundred small voices, close as breath. The platform lurched. A wind rose in the underground as if the market were inhaling. The circle around the suspect contracted. The faces of the crowd seemed to alter, not with distance but with intent. Tomás made a sound that was half prayer, half warning. He lunged forward to grab her arm. The bone in her hand pulsed once, then twice. The light braided and for a heartbeat the market was a thing without edges, a room that wanted more. Someone shouted, knives flashed, and something in the dark beyond the stalls opened its mouth.
created_at"2026-02-19T12:36:56.254Z" 2/19/2026, 12:36:56 PM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency5652
moderation_latency(null)
generation_time55778
tokens_prompt4663
tokens_completion4043
native_tokens_prompt4132
native_tokens_completion4093
native_tokens_completion_images0
native_tokens_reasoning1216
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"
usage0.009219
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_02d0ca669588525c01699703e8590c8193a70357b63e6ea664"
is_byokfalse
latency151
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504616-tbn8DMKlljk0Dv4Aj1Cc"
upstream_id"resp_02d0ca669588525c01699703e8590c8193a70357b63e6ea664"
total_cost0.009219
cache_discount(null)
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
totalTags14
adverbTagCount0
adverbTags(empty)
dialogueSentences26
tagDensity0.538
leniency1
rawRatio0
effectiveRatio0
93.54% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2323
totalAiIsmAdverbs3
found
0
adverb"reluctantly"
count1
1
adverb"very"
count1
2
adverb"softly"
count1
highlights
0"reluctantly"
1"very"
2"softly"
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)
72.02% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2323
totalAiIsms13
found
0
word"footsteps"
count2
1
word"lurched"
count2
2
word"shattered"
count1
3
word"pulse"
count1
4
word"flicked"
count1
5
word"long shadow"
count1
6
word"pulsed"
count2
7
word"sanctuary"
count1
8
word"shimmered"
count1
9
word"palpable"
count1
highlights
0"footsteps"
1"lurched"
2"shattered"
3"pulse"
4"flicked"
5"long shadow"
6"pulsed"
7"sanctuary"
8"shimmered"
9"palpable"
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
narrationSentences198
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences198
filterMatches
0"watch"
hedgeMatches
0"tried to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences208
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen37
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2312
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
totalMentions30
wordCount2169
uniqueNames15
maxNameDensity0.28
worstName"Tomás"
maxWindowNameDensity1
worstWindowName"Veil"
discoveredNames
Quinn2
Raven1
Nest1
Soho1
Veil2
Market2
Camden1
Morris2
Saint1
Christopher1
Herrera1
Spanish1
Tomás6
Harlow5
People3
persons
0"Quinn"
1"Raven"
2"Market"
3"Morris"
4"Saint"
5"Christopher"
6"Herrera"
7"Tomás"
8"Harlow"
9"People"
places
0"Soho"
1"Spanish"
globalScore1
windowScore1
97.18% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences142
glossingSentenceCount3
matches
0"smelled like old secrets"
1"something like calma, and his hands were up"
2"felt like a throat"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.433
wordCount2312
matches
0"not with distance but with intent"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences208
matches
0"places that traded"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs57
mean40.56
std27.5
cv0.678
sampleLengths
051
113
260
367
474
524
664
747
880
976
10118
1112
1290
1334
1468
1562
169
1744
1813
1997
2034
2165
2268
2322
2417
2516
2624
278
2821
2937
3078
3151
3254
336
3432
3510
3662
379
3812
3935
404
4118
4240
4387
445
4518
4660
4766
4846
498
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences198
matches
0"been written"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs406
matches
0"were inhaling"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount2
flaggedSentences3
totalSentences208
ratio0.014
matches
0"Every instinct that had kept her alive for eighteen years told her to move, and an old, darker muscle—anger—drove her down."
1"The suspect had been a shadow within a shadow; now the market offered him sanctuary."
2"He had not empty-handed escaped to buy trinkets; he had delivered something."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2180
adjectiveStacks0
stackExamples(empty)
adverbCount55
adverbRatio0.02522935779816514
lyAdverbCount11
lyAdverbRatio0.005045871559633028
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences208
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences208
mean11.12
std7.49
cv0.674
sampleLengths
019
132
26
32
42
53
610
717
87
914
109
113
1217
139
1425
1516
1611
1711
184
1917
2017
2114
224
238
2412
253
268
275
282
2921
3012
3113
327
333
342
3511
363
3721
389
3931
4018
4122
429
4314
4426
4510
4614
473
486
493
33.65% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats34
diversityRatio0.25961538461538464
totalSentences208
uniqueOpeners54
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences179
matches(empty)
ratio0
34.53% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount83
totalSentences179
matches
0"His boot hit a puddle"
1"She kept going."
2"He had been quick, quicker"
3"He carried a sack, something"
4"He glanced back once, saw"
5"She forced the corner and"
6"He was already moving for"
7"She pushed through bodies, the"
8"She did not hesitate."
9"She lunged for him and"
10"He had gone through, and"
11"It had to pin him."
12"She drew in a breath"
13"She should call it in,"
14"She did not."
15"He had been heading south,"
16"She followed the slick footprints"
17"She slowed when she saw"
18"She had heard rumours."
19"She had tracked other smells"
ratio0.464
1.90% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount164
totalSentences179
matches
0"His boot hit a puddle"
1"Harlow Quinn vaulted the low"
2"A taxi horn bleated behind"
3"She kept going."
4"He had been quick, quicker"
5"He carried a sack, something"
6"He glanced back once, saw"
7"That was why she could"
8"She forced the corner and"
9"The sign buzzed, cast sickly"
10"The bar's door lurched open"
11"Maps lined the walls in"
12"People moved around them like"
13"A glass met the floor"
14"The music swallowed sound."
15"He was already moving for"
16"She pushed through bodies, the"
17"The shelf gave with a"
18"She did not hesitate."
19"She lunged for him and"
ratio0.916
27.93% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences179
matches
0"Before her fingers closed, the"
ratio0.006
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences95
technicalSentenceCount3
matches
0"Harlow Quinn vaulted the low wall without thinking, leather watch rasping against her wrist, and tasted the city in her mouth, diesel and rain and something iro…"
1"People moved around stalls that sold things she did not have words for: jars with names folded into paper, lengths of string that pulsed faintly when someone he…"
2"The sack at her feet untied itself as if by breath and the bones rolled out in a tidy spill, each one aligning with an invisible grid on the platform."
89.29% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags14
uselessAdditionCount1
matches
0"Tomás stood, his shoulders a small wall"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags12
fancyCount1
fancyTags
0"she barked (bark)"
dialogueSentences26
tagDensity0.462
leniency0.923
rawRatio0.083
effectiveRatio0.077
85.0014%