Run: 2026-02-19-01KHTYETHMS2KW3MNKMNH2Y0R9

Run Details

Duration:
1m 8s
Cost:
$0.010451
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
She hit the bookshelf door with her shoulder and the whole row swung open, a bookcase of lies folding back to reveal a corridor that smelled of old smoke and something else, something metallic and sweet. The man she had been chasing slipped through as if he had rehearsed the move. She did not slow. Quinn kept her right hand on the grip of her service pistol, thumb brushing the worn leather watch on her left wrist. The watch had a habit of ticking when she held her breath. Tonight it ticked like a metronome set to war. "Stop!" she barked. He did not stop. He ducked into the hidden room, down a narrow flight of stairs that smelled of dust and spilled ale. Voices fell away. The last echo of the street—car tyres, a siren twenty blocks off—died like someone turning the world down. Behind the bookshelf the lighting changed from traffic glare to a green neon wash. The Raven's Nest's sign blinked through a gap in the wall, distinctive green, unreadable from inside, like an eye. "You have to be out of your mind," the barkeeper said, three words wrapped in a thud of boredom and the kind of authority that belonged to someone who had seen less and wanted no more trouble. "Move," Quinn said. She pushed past him. The barkeeper smelled of wood varnish and old cigarettes. He did not move. The man she chased was already through a further door, a flap of heavy curtain, and the room beyond gave way to a steep metal ladder bolted into a shaft. A draft breathed up, carrying with it the smell of underground trains and something sweeter, like incense in a church gone colder. "You cannot come down there," the barkeeper said. "I need him," Quinn said. "You do not." He tapped something under the counter, a small bone pendant threaded on leather. The gesture was casual, the threat polite. "Not without an invitation." Quinn's mouth tasted of iron. She had expected resistance. She had not expected a hand on her shoulder, gentle and firm, as if to check a pulse. "Detective Quinn." The barkeeper's voice softened. "We know who you are." Her name felt like a barbed thing. "Step aside." "No." He held the bone token up between forefinger and thumb. "This place has rules. You break the rules, you break a lot more than a law." She looked at her watch. The second hand jumped. The ladder descended into something that moved and lived. She thought of DS Morris, the way he had looked at the river the last night she had seen him alive. She thought of the case files marked as closed and then unclosed again. She thought of the way people in her line learned to put danger into boxes and label them with neat evidence tags. The box with Morris's death had never fit. "Where will he go?" she asked. "Camden." The barkeeper's voice was small but steady. "Under the old platform two. The market will be open." Her fist tightened on the pistol. The Veil Market. She had heard the name in late intelligence reports, in off-the-record coffees where men with clean ties got drunk on the idea of myth. An underground market that moved every full moon, which dealt in enchantments and things the Metropolitan had no place cataloguing. Entry required a bone token. She did not have one. "You're not leaving me a lot of choices," she said. The barkeeper's jaw worked. He did not say anything. He let the leather hang between his fingers, an offered key and a locked mouth in the same gesture. Quinn did not ask permission. She dropped down the ladder after the man, boots clanging against the rungs. The last step met solid metal. The shaft opened into a narrow maintenance corridor. A freight elevator waited at the far end, its doors ajar and smelling of oil. The man who had run kept moving, ducking through a door marked STAFF ONLY. A hand reached for the curtain and the door folded back into a wall of harvest-smoke. "That was your choice," the barkeeper called, his voice muffled by concrete. She should have listened. She did not. The elevator took them down in a measured clank. The air grew colder and the smell of wet stone began to edge out the ale. The man in front moved like someone practised in disappearing. He kept glancing back, panic thin and sharp under his skin. He was younger than she had expected. Dirt under fingernails. A cut along his jaw. He carried a knapsack, too light for what she believed it to contain. "Stop." Her pistol was out now. Reflex more than anything. The market below was a void she had not cleared warrants for. It had no place in her paperwork. It had no right to exist where it did. She still pursued the law. The law had teeth and it bit. He spun. His eyes were alarmed, not wicked. He lunged for a service door marked NO ACCESS, but his shoulder rammed the frame and the door gave. He went through and vanished. Quinn did not hesitate. She forced the door, fell into a space that was not a room at all but a seam in the city. It smelled of copper and roses and something like ink. Her boots struck damp flagstone. The sight that met her contained a dozen traders, two hundred patrons, and enough oddities to make an anthropologist mutter a blessing. Stalls lined a sunk platform in concentric rows, lit by lanterns that did not burn normally. Some glowed cold blue, some burned an oily green. Merchants hawked jars whose labels suggested curses and remedies. A man with a cart sold teeth polished to a pearly sheen, labelled by species and value. A woman with hair like spilled ink weighed out powders that shimmered when she breathed on them. The crowd moved as if guided by an unseen current. She felt watched, the way someone feels when everyone's eyes turn in, like the air itself had ears. "Bone token," a vendor whispered, as if it were a prayer. "Keep it steady." He laid a finger on a palm-sized black bone and hummed to it. The bone drank the lantern light. This was not the law. This was theatre and devotion and commerce braided together. A place where money asked for more than change. She saw the man she chased only then, by the far wall, slipping through a curtain patched with old station posters. He handed something paltry, a silver coin and a scrap of paper, to a squat figure. The figure accepted it, then pressed a small bone token into the man's palm. The man tucked it away, turned, and vanished through the wall that had no door. Quinn's breath hitched. She moved through the stalls with the economy of a trained body. Her presence caused a ripple. Nobody moved to stop her, but eyes flicked and returned, like fish watching a net. "Detective." A voice at her shoulder. Smooth. Spanish-flavoured, careful. "You are far from the paperwork." She turned. A man stood there with his sleeves rolled up, hands stained in ways that might be blood or ink. Short curly hair. Warm brown eyes. He wore a Saint Christopher medallion that caught the lantern light. Tomás Herrera. She had seen his name on hospital reports, a paramedic who had gone off the books when patients started arriving with burns that did not come from fire and wounds that bled black. He had lost his licence after that. Tonight he leaned against a stall of preserved butterflies and smiled like someone apologising for a mess he did not make. "You followable, Herrara?" someone asked from behind her. A vendor notched his chin towards the back. Voices folded into her direction. "Tomás," she said. The name hit the room softer than she expected. He did not own the market but he moved in it like a man who had something like ownership by service. He had been the kind to patch the clique's cuts with hands that knew how to make the hurt less loud. "You chased him through a bookcase," Tomás said, not a question. "That will get you a mark." "Where did he go?" Tomás looked to her eyes and did not look away. He considered the question as if weighing a wound. "Platform two. Old Camden. The entry is closed unless you present bone. He would have needed a token." "I do not have a token." "Good." Tomás's onetime paramedic's smile did not reach his eyes. "That means you do not walk in uninvited." She felt a weight settle in her gut. The rational options tiled in front of her like playing cards: call for backup, secure the exits, wait for warrants. The derivative reflex of a policeman. But she had a running suspect. He had either a token or he had not, and if he had a token then whatever was down there precluded simple arrest. If she waited, he slipped away. If she followed, she breached whatever rules underpinned this place and stepped into a theatre whose drops she did not know. "Tell me you can get me through," she said. Tomás's jaw tightened. He tasted something, a memory that made the medallion catch again. "I cannot hand over bone." "Then help me get one." He looked around as if the market itself might be listening. His hands picked at a thread on his sleeve. "There are ways to borrow entry. Not without cost." She pictured costs. She had paid in paper and procedure for years. She had not yet paid in whatever currency the Veil Market preferred. The memory of Morris surfaced like a bruise. She let it linger a heartbeat and then shoved it away. She could not argue with ghosts. "What's the cost?" she asked. Tomás shrugged. "Information. Blood. Both get asked for sometimes." "Information." He let out a breath that pulled through his nose. He raised his hand and waved at the stall beside him. The vendor laid a palm-sized bowl of something like mud and spoke soft phrases. Tomás leaned in and listened, his face tight. He turned to her. "There is a woman who swaps entry for favours. She will not ask for your name on arrival. She will ask for a service rendered. She is on the third ring." "Third ring," she repeated, counting with her feet while he spoke. Stalls unfurled into concentric circles; the outer ones sold trinkets and curios. The inner rings sold promises. The third was a place you paid to be believed. "Why help me?" she asked. Tomás's fingers brushed his medallion as though in reflex. "Because DS Morris's case still walks around people who pretend they forgot. Because you, Detective Quinn, do not have to fall into this with your eyes closed. Because sometimes I keep a ledger." The name caught in her. She had no right to that gratitude. She had no right to hope from him. "I do not die tonight," she said. "You think I can promise that?" He smiled without warmth. "No. But I can tell people you've arrived. The woman will look kindly." Quinn held that for a moment. The crowd's hum pressed against the edges of her decision. The man she chased had dissolved into the market and dawned a cloak of anonymity. She had followed him this far. She either arrested him on the surface or fell through a rabbit hole that had no judges. "Get me to her," she said. Tomás hesitated and then nodded once. He threaded through the stalls, a path opening as if the market acknowledged a name. He moved with the kind of confidence belonging to those who once saved lives with hands that had seen too much. He led her through a corridor of jars that contained things like moonlight and a child's first tear. He pointed at a stall where a woman sat embroidering a map with red thread. Her fingers were stained and fine, her hair wrapped in a scarf the colour of dried blood. "She charges with memory," Tomás said. "Not force. She asks for a recollection of something you owe." Quinn readied the truth on her tongue and did not speak it. She owned grief like an unfiled case. It would not persuade a market to part with a bone. The woman did not look up initially. Her needle moved with the insistence of a heartbeat. When she did finally tilt her chin, her eyes were wells. "I know you," she said. "You do not," Quinn said. "I know your watch." The woman smiled small. "Worn leather." Quinn's fingers ghosted the band. "And you know the rules." "I know the rules and the breaks between them. What do you owe me?" Tomás's presence was a bluff at safety. He watched the woman with an intensity that spoke of debts unpaid. The stall's lanterns flickered and the air smelled of mould and peppermint. Quinn thought of DS Morris in the Thames, of his laugh and his last case notes. She thought of the file stamped CLOSED and the blood that did not obey closure. She could hand that memory over. She could offer it as currency. "I owe you an answer," she said. The woman's needle paused. Up close, her face was small and older than her hands. She tapped the map. "Answers here cost blood," she said. "Not the literal kind. We take the memory sharp. We make space." Quinn swallowed. She could feel the city leaning in, listening. "Will it let me down there?" she asked. The woman hooked the thread through cloth. "It will make you lighter. It will buy you bone. But if you think you can walk into the Market and keep what you had before, you are wrong." Quinn had spent her life refusing wrong. She had a stack of precinct memos that praised her for that refusal. She had to choose whether wrong on paper meant wrong in living colour. Her boot brushed the flagstone. The lanterns seemed to tilt as if anticipating the decision. "I will give you the memory of the first time I failed," she said. The woman's needle worked. Tomás's jaw set. "Your watch," the woman said softly. "Give me the moment. Not a sketch, not a paraphrase. The feeling. The temperature. The last word you heard." Quinn closed her eyes just long enough to let the city pull her through the moments until she found him, DS Morris, under the streetlight, the river in the background, the rain a curtain she had not noticed until later. She felt the familiar weight lift and press, a recoil in her chest, and then she spoke the line into the woman's hand like a coin. "He said, Hold on. Then he looked at the river." The woman nodded. Her needle worked the final stitch. She folded the cloth and handed Quinn a small bone, thin and spiralling, engraved with marks like letters from a language she did not know. "Take it," the woman said. Quinn did not look at the bone. She slipped it into her pocket like contraband and felt the city tilt again. The lanterns dimmed for a heartbeat and the crowd inhaled as if the market had taken a breath. "One warning," the woman murmured. "You step through and you will not be the same. They will recognise you. They always do, in the end." Tomás's hand found the small of her back, gentle, and pushed her forward. "No heroics," he said. Quinn's boots hit the curtain that led to platform two. The fabric tasted of dust. She pushed through. The train platform opened like a throat. Stalls cut into the rail embankment. A bell rang, not a clock bell, something lower, a sound that felt like a mandible closing. People turned. Faces sharpened, some friendly, many not. A figure at the far end raised an arm, a signal. The bone in her pocket warmed. The hair along Quinn's neck stood up. Every exit in the market seemed to shift a fraction, a living labyrinth senses that repositioned itself. She had the token. She had made the choice. Behind her, Tomás called, "Harlow." She did not answer. She stepped onto the platform and the lamps extinguished, one by one, plunging the market into a breathless dark. A chant began, low and close, and the lanterns around the third ring flared a violent green. The crowd split, revealing a procession that moved like a skin shedding. Figures in hooded cloaks carried something wrapped in black silk. They stopped as one and faced her. Quinn's hand found her pistol. Her watch ticked. The market's chant climbed, a wave that smelled like iron. Someone at the head of the procession threw back their hood. Their face was not human in the way law or biology had taught her to recognise faces. The skin was a map. The eyes slit and pinned her like a wound. The chant rose into words, and the words were not English. They sounded like the rustle of pages and a clenched fist. Quinn stood on a platform that had no business holding her. Her choice had been made. The market had taken note. The first of the cloaked figures stepped forward and extended a hand, palms up, waiting like an assessor. "Detective Quinn." The voice was not the one she expected. It was everywhere at once. "Welcome to the Veil Market."
created_at"2026-02-19T12:37:06.237Z" 2/19/2026, 12:37:06 PM
model"openai/gpt-5-mini-2025-08-07"
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0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_079d348db6609b1b01699703f251e08194b7cc58bc690b2769"
is_byokfalse
latency130
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504626-NhhI5v1T6nBVFhqV7KaR"
upstream_id"resp_079d348db6609b1b01699703f251e08194b7cc58bc690b2769"
total_cost0.010451
cache_discount0.000864
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
totalTags38
adverbTagCount1
adverbTags
0"the woman said softly [softly]"
dialogueSentences70
tagDensity0.543
leniency1
rawRatio0.026
effectiveRatio0.026
98.30% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2938
totalAiIsmAdverbs1
found
0
adverb"softly"
count1
highlights
0"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)
74.47% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2938
totalAiIsms15
found
0
word"echo"
count1
1
word"unreadable"
count1
2
word"pulse"
count1
3
word"measured"
count1
4
word"shimmered"
count1
5
word"flicked"
count1
6
word"weight"
count2
7
word"warmth"
count1
8
word"intensity"
count1
9
word"flickered"
count1
10
word"could feel"
count1
11
word"anticipating"
count1
12
word"familiar"
count1
13
word"silk"
count1
highlights
0"echo"
1"unreadable"
2"pulse"
3"measured"
4"shimmered"
5"flicked"
6"weight"
7"warmth"
8"intensity"
9"flickered"
10"could feel"
11"anticipating"
12"familiar"
13"silk"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow1
found
0
label"let out a breath"
count1
1
label"clenched jaw/fists"
count1
highlights
0"let out a breath"
1"clenched fist"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences259
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount3
narrationSentences259
filterMatches
0"watch"
hedgeMatches
0"began to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences288
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
totalWords2930
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions36
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions57
wordCount2473
uniqueNames16
maxNameDensity0.85
worstName"Quinn"
maxWindowNameDensity3
worstWindowName"Quinn"
discoveredNames
Raven1
Nest1
Quinn21
Morris5
Veil2
Market2
Metropolitan1
Reflex1
Smooth1
Saint1
Christopher1
Herrera1
Tomás14
Stalls3
Thames1
English1
persons
0"Raven"
1"Nest"
2"Quinn"
3"Morris"
4"Market"
5"Metropolitan"
6"Saint"
7"Christopher"
8"Herrera"
9"Tomás"
10"Stalls"
places
0"Reflex"
1"Thames"
globalScore1
windowScore0.667
15.27% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences167
glossingSentenceCount9
matches
0"felt like a barbed thing"
1"something like ink"
2"something like ownership by service"
3"as if weighing a wound"
4"something like mud and spoke soft phrases"
5"as if anticipating the decision"
6"felt like a mandible closing"
7"smelled like iron"
8"sounded like the rustle of pages and a cle"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.341
wordCount2930
matches
0"not a room at all but a seam in the city"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences288
matches
0"hand that memory"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs96
mean30.52
std24.15
cv0.791
sampleLengths
055
143
23
377
437
572
68
75
827
927
1011
119
1227
1382
146
1518
1663
1710
1828
1977
2012
217
2274
2350
2432
2540
26100
2718
2833
2923
3066
3135
3215
33101
3421
3554
3617
374
3837
396
4018
4190
429
4319
445
4529
4649
475
489
491
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences259
matches
0"been made"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs465
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount1
flaggedSentences2
totalSentences288
ratio0.007
matches
0"The last echo of the street—car tyres, a siren twenty blocks off—died like someone turning the world down."
1"Stalls unfurled into concentric circles; the outer ones sold trinkets and curios."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2481
adjectiveStacks0
stackExamples(empty)
adverbCount56
adverbRatio0.02257154373236598
lyAdverbCount10
lyAdverbRatio0.004030632809351068
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences288
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences288
mean10.17
std6.77
cv0.666
sampleLengths
036
115
24
322
412
59
63
74
819
93
1018
1114
1219
1337
143
154
169
174
1830
1922
208
215
2216
237
244
255
264
2718
286
295
307
312
3211
3316
345
354
369
3721
3813
3922
408
416
428
4310
446
453
4624
4720
485
495
36.11% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats40
diversityRatio0.2465277777777778
totalSentences288
uniqueOpeners71
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences232
matches(empty)
ratio0
49.31% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount99
totalSentences232
matches
0"She hit the bookshelf door"
1"She did not slow."
2"He did not stop."
3"He ducked into the hidden"
4"She pushed past him."
5"He did not move."
6"He tapped something under the"
7"She had expected resistance."
8"She had not expected a"
9"Her name felt like a"
10"He held the bone token"
11"She looked at her watch."
12"She thought of DS Morris,"
13"She thought of the case"
14"She thought of the way"
15"Her fist tightened on the"
16"She had heard the name"
17"She did not have one."
18"He did not say anything."
19"He let the leather hang"
ratio0.427
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount223
totalSentences232
matches
0"She hit the bookshelf door"
1"The man she had been"
2"She did not slow."
3"Quinn kept her right hand"
4"The watch had a habit"
5"Tonight it ticked like a"
6"He did not stop."
7"He ducked into the hidden"
8"Voices fell away."
9"The last echo of the"
10"The Raven's Nest's sign blinked"
11"the barkeeper said, three words"
12"She pushed past him."
13"The barkeeper smelled of wood"
14"He did not move."
15"The man she chased was"
16"A draft breathed up, carrying"
17"the barkeeper said"
18"He tapped something under the"
19"The gesture was casual, the"
ratio0.961
43.10% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences232
matches
0"If she waited, he slipped"
1"If she followed, she breached"
ratio0.009
71.43% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences100
technicalSentenceCount10
matches
0"She hit the bookshelf door with her shoulder and the whole row swung open, a bookcase of lies folding back to reveal a corridor that smelled of old smoke and so…"
1"An underground market that moved every full moon, which dealt in enchantments and things the Metropolitan had no place cataloguing."
2"The sight that met her contained a dozen traders, two hundred patrons, and enough oddities to make an anthropologist mutter a blessing."
3"A man stood there with his sleeves rolled up, hands stained in ways that might be blood or ink."
4"He wore a Saint Christopher medallion that caught the lantern light."
5"She had seen his name on hospital reports, a paramedic who had gone off the books when patients started arriving with burns that did not come from fire and woun…"
6"He tasted something, a memory that made the medallion catch again."
7"He led her through a corridor of jars that contained things like moonlight and a child's first tear."
8"She had a stack of precinct memos that praised her for that refusal."
9"The crowd split, revealing a procession that moved like a skin shedding."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags38
uselessAdditionCount1
matches
0"a vendor whispered, as if it were a prayer"
92.86% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags30
fancyCount4
fancyTags
0"she barked (bark)"
1"a vendor whispered (whisper)"
2"she repeated (repeat)"
3"the woman murmured (murmur)"
dialogueSentences70
tagDensity0.429
leniency0.857
rawRatio0.133
effectiveRatio0.114
81.5839%