Run: 2026-02-19-01KHTYFA29HVQYV0DT1BTXZRS9

Run Details

Model:
GPT-5.2
Duration:
1m 44s
Cost:
$0.064975
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
Quinn clipped her shoulder on the doorframe and kept moving, boots skidding on wet tiles as the man in the black hoodie vaulted the last three steps and hit the pavement hard enough to splash a fan of dirty water up her trousers. “Stop. Police.” He glanced back, face half-lit by the Raven’s Nest’s distinctive green neon sign, then tore into the knot of bodies outside the bar like he had memorised the gaps. Quinn drove after him with military precision, elbows tucked, chin down. Her worn leather watch slapped her wrist as she shoved past a tourist couple and caught a whiff of gin, damp wool, and old cigarettes. The Raven’s Nest sat behind her in her peripheral vision, dim windows, walls inside covered in maps and black-and-white photos, a place that pretended it was nostalgia and tasted like secrets. She had spent a week clocking its door, counting faces, building a picture. She had not expected her picture to run. The man cut left into a narrow service lane. Quinn followed and felt rain needle the back of her cropped salt-and-pepper hair, cold lines across her scalp. Water ran off the brim of his hood. It ran off the bricks. It ran off everything London pretended it could keep clean. He knocked a stack of plastic crates over behind him. They clattered, a deliberate tripwire. Quinn hurdled the first, planted a palm on the second, and pushed. The crates slid aside with a squeal. He had gained six metres and a corner. “Quinn, where are you?” crackled her radio. “Foot pursuit,” she snapped. “Male. Dark hoodie. Heading east off Dean Street.” A burst of static. “Repeat.” She ignored it and turned the corner hard. The lane spilled onto a brighter street. Headlights smeared in the wet. Someone leaned on a horn like they meant to bend it into a new shape. The man darted between cars, palms slapping bonnets for balance. A taxi missed him by a breath and swore at the sky. Quinn stepped into traffic without hesitation. A driver braked, tyres screaming. She cleared the car’s nose, came down, and drove on. Her sharp jaw clenched. Pain, lungs, distance, all of it filed under irrelevant. If she lost him here, he would sink back into the city and become another rumour that lived in her casework. He hit the far pavement and took the stairs down into the Tube entrance. Quinn swore once, low, and followed. The station swallowed sound in layers, street noise fading into the metallic clang of gates and the damp stink of old concrete. Commuters and late-night drifters moved in blurs, umbrellas dripping, headphones in, faces set in that London way of refusing to see. The man shoved through the ticket barriers with a quick twist of his body and a beep that sounded too clean. Quinn’s warrant card flashed. The attendant looked up, started to say something, and Quinn’s eyes cut him off. “Open it.” He slapped the button. The gate clicked and parted. Quinn drove through, shoes slapping on wet rubber flooring, and caught sight of her suspect’s left forearm as he lifted it to vault the last set of stairs. A scar ran along it, pale against olive skin, long and thin like a lesson. The glimpse landed in her mind with an edge. Not a street kid. Not a tourist. He slid into the escalator crowd and rode down on the right, then cut across, pushing past a woman with a pram. The woman cursed. The pram rocked. Quinn felt her temper rise, contained, a blade inside its sheath. “Move,” Quinn said. A man stepped into her path, indignant. Quinn’s hand came up to his chest and shoved him aside without breaking stride. The man stumbled back into a pillar, shocked more than hurt. At the bottom, the suspect broke into a run again and took a corridor marked for the Northern line. Quinn’s legs burned. Her breath came sharp. The drip-drip of water from the ceiling marked time better than any clock. He reached the platform as a train’s doors chimed. He slipped inside. Quinn ran for the nearest door and punched her palm at the button, but the doors had already started to close. She caught a flash of his eyes through the glass, warm brown and fixed on her with something that was not triumph. It looked closer to apology. The doors sealed. The train lurched. Quinn paced the platform edge, jaw set, and watched the carriage slide away into the tunnel. The air it left behind tasted of brake dust and damp. Her radio spat again. “Quinn, you’re breaking up. You’ve got armed response en route to the Nest.” “I’m not at the Nest.” “Where are you?” “In the Northern line. I’ve got him.” A pause, then, “You’re alone.” Quinn’s fingers tightened around the radio until the plastic creaked. “Keep the line open.” The next train arrived with a rush and a gust. Quinn stepped in, shoulders squared, and moved down the carriage, scanning faces reflected in the black glass. Her suspect would not sit. People who sat wanted to look normal. She spotted him two carriages down, standing by the inter-carriage door, one hand braced on the pole. He had his hood down now, curls plastered to his forehead, rainwater tracking along his cheekbones. A Saint Christopher medallion lay against his throat, the silver catching the carriage light. That wasn’t the jewellery of a mugger. That was the kind someone touched when they thought the world had teeth. He looked up, saw her, and his mouth tightened. He pushed through into the next carriage as the train rocked. Quinn followed, shoving through bodies, ignoring tutting and muttered complaints. “Police,” she said to no one in particular. “Move.” The inter-carriage door resisted for a second. She forced it and stepped through. The rubber floor flexed. The smell changed, more sweat, less perfume. He was halfway down the next carriage, shoulder hunched, one hand pressed to his side as if he held something in place under his jacket. The train screeched into the next station. Doors opened. He bolted. Quinn surged after him and hit the platform at speed, shoes sliding on the wet edge. He ran up the stairs and disappeared into another corridor. She took them two at a time, breathing hard, mind cold. He knew where he was going. Camden Town swallowed him in its belly. The station here felt older, narrower, the kind of place that forced strangers to press together. Quinn pushed out into the ticket hall and caught a glimpse of him disappearing through a door marked STAFF ONLY, held for a second by a hand that came out of the shadows to let him through. Not staff. An accomplice. Quinn reached the door and slammed her palm against it. Locked. “Open it,” she shouted. No answer. She drew her baton, jammed it into the gap near the latch, and levered. The wood groaned, the metal plate around the lock bending. A second shove and the latch snapped. The door flew inward. A narrow maintenance corridor lay beyond, unlit except for a single emergency strip along the floor. The air tasted stale, coppery, like old pipes and old secrets. Footsteps echoed ahead, rapid, controlled. Quinn moved in and let the door swing shut behind her. The corridor turned, tightened, then opened into a service stairwell descending into deeper dark. Wet footprints stamped the steps. The suspect’s, and at least one other set. Her radio crackled again, but the signal sounded thin down here. “Quinn, you’re-” Static ate the rest. Quinn descended. The walls changed as she went down, from clean station paint to exposed brick, then to old tile, the kind you saw in photographs from when the Underground still wore its early glamour like a mask. A faint hum vibrated through the handrail under her palm, not electrical exactly, more like something alive and bored. At the bottom, a heavy door sat in a tiled archway. No signage. No warning. Just a round metal plate at chest height with a shallow depression in it, like a palm print. The suspect stood there, shoulders heaving. He held something in his left hand, small and pale. A bone. Quinn slowed, baton up, eyes fixed on his hands. “Hands where I can see them.” He turned. The medallion swung. His face looked younger up close, late twenties, and tired in a way sleep did not fix. “Detective Quinn,” he said. His voice carried a Spanish edge, vowels warmer than the air deserved. “You should not be here.” Quinn’s eyes narrowed. “You know my name.” He glanced at her baton, then her face, then past her, as if listening for more footsteps. “London’s small,” he said. “People talk.” “People at the Raven’s Nest talk.” His jaw tightened at the name. That reaction landed like a stamp on paper. “Step away from the door,” Quinn said. “Slowly. Tell me what you took.” “I didn’t take anything.” He kept the bone token between finger and thumb. It looked old, polished smooth by use. “I’m not your thief.” “Then you’re my runner.” His gaze flicked to her left wrist, to the worn leather watch. “Your partner wore the same style,” he said. Quinn’s throat tightened, quick and hard, like a fist closing. “Don’t,” she said. The man lifted his free hand, palm out, not surrender, more a warning. “They don’t like police.” Quinn stepped closer. “Who’s they?” He pushed the bone token into the depression on the metal plate. The tile around the archway seemed to drink in the sound. A click came from inside the wall, followed by a low grind. The door shifted inward without visible hinges. Air spilled out, thick with spice, smoke, and something sharper, like singed hair. Quinn stared through the widening gap. The darkness beyond pulsed with movement and low voices, a crowd breathing as one organism. Lights winked in colours that did not belong in a station, green and violet and bruised gold. The man took a half-step back from the opening, eyes on Quinn. “You can turn around,” he said. “You can pretend this door never opened.” Quinn raised her baton a fraction. “Or I can arrest you.” His lips pressed together, then he spoke like he had rehearsed it. “I’m Tomás Herrera.” The name struck a note. Quinn’s mind flicked through files, whispers, the off-the-books medic the clique used, the one who patched people up without questions and without paperwork. The one she had never pinned to a location. “You ran,” Quinn said. Tomás’s gaze slid to the open door again. “I don’t have the luxury of courts,” he said. “You think you do.” He turned to go. Quinn lunged, grabbed his jacket with her left hand, and yanked him back. The fabric tore at the seam. Tomás twisted, quick, and drove his elbow towards her ribs. Quinn caught it on her forearm, pain blooming, and brought her baton up between them. “Don’t,” she said, low. Tomás froze for a heartbeat, eyes locked with hers. In that moment, Quinn saw it, not fear for himself. Fear for her. Behind him, the market noise swelled, a murmur broken by the clink of metal and the low chant of someone selling something they did not want to name. Tomás’s fingers flicked. The bone token slipped from the plate and dropped. Quinn’s boot pinned it to the tile before it could roll into the doorway. Tomás’s eyes widened. “Detective,” he said, and the word held strain now, “leave it.” Quinn bent, kept her baton up, and snatched the token from under her sole. It felt warm, like it had sat in a pocket against skin for hours. It also felt wrong, like holding a tooth that still remembered biting. She stepped closer to the open doorway. The air that came out tasted of cloves and rust. Voices inside shifted, some laughter, some hissing argument. A bell rang once, slow. Tomás backed away from her, hands up now, palms open. “If you walk in there,” he said, “you walk in as prey.” Quinn’s grip tightened on the token. “Then you’d better run,” she said. She pushed past him and crossed the threshold. The Veil Market hit her like a body. Sound, smell, heat, pressure. The old station had been hollowed out into a warren of stalls and makeshift counters. Tarps hung like low ceilings. Strings of lights ran along cables that did not connect to any obvious power. People crowded the concourse, but not all of them moved like people. A woman with a scarf over her mouth held a tray of small glass vials that smoked faintly. A man with too-long fingers arranged knives that shimmered as if they held oil on the blade. Further in, a boy no older than ten offered a bundle of feathers and watched Quinn with eyes that flashed pale, then dark again. Quinn kept moving, baton in one hand, token in the other. Her badge felt heavy in her pocket, absurd, like a paper shield. Tomás darted into the crowd, shoulder-slipping through gaps. He knew the rhythm here. He vanished behind a stall stacked with old books and cracked leather satchels. Quinn followed, shoving past a thick-set man who smelled of smoke and sweet rot. The man’s head turned too far, neck bending with a wet click. “No running,” he said. Quinn met his gaze and did not slow. “I’m police,” she said. “Move.” The man smiled. His teeth looked filed. “Not here.” A hand clamped on Quinn’s shoulder, hard enough to bite into muscle. She spun, baton up, and found herself facing a tall figure in a long, purpose-made dark coat that did not belong to any high-street shop. A mask covered the lower half of the figure’s face, stitched from pale material that looked disturbingly like skin. The eyes above it watched Quinn with bored interest. The grip did not shift. It anchored her in place. “Token,” the masked figure said. Quinn lifted the bone token. “Where did he go?” The masked figure tilted their head, listening, then spoke to someone behind Quinn. “Bell,” they said. A second later, another bell rang, closer, sharper, then another answered it from further down the concourse. The crowd’s murmur changed, tightening. Stalls began to close, tarps yanked down, boxes slammed shut. People flowed away from Quinn in a widening circle. Tomás’s head appeared above the crowd for a split second, eyes wide, mouth forming her name as if he meant to shout it. Then a shoulder blocked him. He disappeared again. Quinn wrenched her shoulder, but the masked figure held fast. The bone token in Quinn’s hand heated, a sting that ran up her palm. “Last chance,” the masked figure said. “You walked in with his token. You pay his price.” Quinn’s baton snapped up towards the figure’s wrist. The figure shifted, too fast, and caught the baton with their free hand. Quinn felt something like a vibration run up the metal, making her teeth ache. The masked figure leaned close enough that Quinn smelled antiseptic and old pennies. “Detective Harlow Quinn,” they said, as if tasting the name. “Still chasing ghosts.” The token burned hot enough that Quinn’s fingers started to shake. The figure’s grip tightened. The market’s crowd fell silent in a ring around them. Then the lights along the concourse flickered, once, twice, and went out.
created_at"2026-02-19T12:37:22.128Z" 2/19/2026, 12:37:22 PM
model"openai/gpt-5.2-20251211"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency29584
moderation_latency(null)
generation_time103308
tokens_prompt4663
tokens_completion4158
native_tokens_prompt4132
native_tokens_completion4571
native_tokens_completion_images0
native_tokens_reasoning1227
native_tokens_cached3968
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.0649754
router(null)
provider_responses
0
endpoint_id"f00142c2-6a93-49ce-9e36-5593b904ce3b"
id"resp_0d8288af5881700b01699704023a748190bcf95dd894612e8d"
is_byokfalse
latency182
model_permaslug"openai/gpt-5.2-20251211"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504642-rfa92BNjmhfgfH8deUvQ"
upstream_id"resp_0d8288af5881700b01699704023a748190bcf95dd894612e8d"
total_cost0.0649754
cache_discount0.0062496
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
totalTags23
adverbTagCount0
adverbTags(empty)
dialogueSentences55
tagDensity0.418
leniency0.836
rawRatio0
effectiveRatio0
98.07% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2590
totalAiIsmAdverbs1
found
0
adverb"slowly"
count1
highlights
0"slowly"
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)
74.90% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2590
totalAiIsms13
found
0
word"jaw clenched"
count1
1
word"lurched"
count1
2
word"scanning"
count1
3
word"footsteps"
count2
4
word"echoed"
count1
5
word"vibrated"
count1
6
word"flicked"
count3
7
word"pulsed"
count1
8
word"shimmered"
count1
9
word"flickered"
count1
highlights
0"jaw clenched"
1"lurched"
2"scanning"
3"footsteps"
4"echoed"
5"vibrated"
6"flicked"
7"pulsed"
8"shimmered"
9"flickered"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches3
maxInWindow2
found
0
label"eyes widened/narrowed"
count2
1
label"jaw/fists clenched"
count1
highlights
0"eyes narrowed"
1"eyes widened"
2"jaw clenched"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences242
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount5
narrationSentences242
filterMatches
0"watch"
hedgeMatches
0"started to"
1"seemed to"
2"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences272
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen43
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2575
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions29
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions80
wordCount2371
uniqueNames15
maxNameDensity2.28
worstName"Quinn"
maxWindowNameDensity5
worstWindowName"Quinn"
discoveredNames
Raven2
Nest2
London2
Tube1
Quinn54
Northern1
Saint1
Christopher1
Town1
Underground1
Spanish1
Tomás8
Veil1
Market1
People3
persons
0"Raven"
1"Nest"
2"Quinn"
3"Saint"
4"Christopher"
5"Underground"
6"Tomás"
7"Market"
8"People"
places
0"London"
1"Tube"
2"Town"
globalScore0.361
windowScore0
73.31% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences163
glossingSentenceCount5
matches
0"tasted like secrets"
1"as if listening for more footsteps"
2"appeared above the crowd for a split second, eyes wide, mouth forming her name as if he meant to shout it"
3"something like a vibration run up the metal"
4"as if tasting the name"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2575
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences272
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs138
mean18.66
std17.31
cv0.928
sampleLengths
043
12
265
352
450
542
67
712
84
91
1057
1155
1214
136
1464
1518
162
1761
187
1939
203
2132
2239
2312
2448
256
2631
2713
285
293
307
315
3210
334
3439
3547
3620
3720
3810
399
4049
4111
4237
436
447
4553
464
4711
484
492
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences242
matches
0"been hollowed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs452
matches
0"was going"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences272
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2386
adjectiveStacks1
stackExamples
0"long, purpose-made dark coat"
adverbCount65
adverbRatio0.027242246437552388
lyAdverbCount6
lyAdverbRatio0.002514668901927913
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences272
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences272
mean9.47
std6.63
cv0.7
sampleLengths
043
12
229
311
425
531
613
78
89
918
108
115
1210
1310
145
1512
167
178
187
194
208
214
221
238
247
255
2615
2710
2812
296
305
3110
324
339
3421
3514
366
3722
3821
3921
404
4114
422
434
445
4528
4615
479
484
493
43.38% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats18
diversityRatio0.23897058823529413
totalSentences272
uniqueOpeners65
62.02% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences215
matches
0"Just a round metal plate"
1"Further in, a boy no"
2"Then a shoulder blocked him."
3"Then the lights along the"
ratio0.019
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount59
totalSentences215
matches
0"He glanced back, face half-lit"
1"Her worn leather watch slapped"
2"She had spent a week"
3"She had not expected her"
4"It ran off the bricks."
5"It ran off everything London"
6"He knocked a stack of"
7"They clattered, a deliberate tripwire."
8"He had gained six metres"
9"She ignored it and turned"
10"She cleared the car’s nose,"
11"Her sharp jaw clenched."
12"He hit the far pavement"
13"He slapped the button."
14"He slid into the escalator"
15"Her breath came sharp."
16"He reached the platform as"
17"He slipped inside."
18"She caught a flash of"
19"It looked closer to apology."
ratio0.274
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount198
totalSentences215
matches
0"Quinn clipped her shoulder on"
1"He glanced back, face half-lit"
2"Quinn drove after him with"
3"Her worn leather watch slapped"
4"The Raven’s Nest sat behind"
5"She had spent a week"
6"She had not expected her"
7"The man cut left into"
8"Quinn followed and felt rain"
9"Water ran off the brim"
10"It ran off the bricks."
11"It ran off everything London"
12"He knocked a stack of"
13"They clattered, a deliberate tripwire."
14"Quinn hurdled the first, planted"
15"The crates slid aside with"
16"He had gained six metres"
17"A burst of static."
18"She ignored it and turned"
19"The lane spilled onto a"
ratio0.921
23.26% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences215
matches
0"If she lost him here,"
ratio0.005
91.84% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences112
technicalSentenceCount8
matches
0"The Raven’s Nest sat behind her in her peripheral vision, dim windows, walls inside covered in maps and black-and-white photos, a place that pretended it was no…"
1"She had spent a week clocking its door, counting faces, building a picture."
2"He was halfway down the next carriage, shoulder hunched, one hand pressed to his side as if he held something in place under his jacket."
3"The station here felt older, narrower, the kind of place that forced strangers to press together."
4"A man with too-long fingers arranged knives that shimmered as if they held oil on the blade."
5"Quinn followed, shoving past a thick-set man who smelled of smoke and sweet rot."
6"She spun, baton up, and found herself facing a tall figure in a long, purpose-made dark coat that did not belong to any high-street shop."
7"Tomás’s head appeared above the crowd for a split second, eyes wide, mouth forming her name as if he meant to shout it."
59.78% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags23
uselessAdditionCount3
matches
0"she said, low"
1"he said, and the word held strain now,"
2"they said, as if tasting the name"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags22
fancyCount2
fancyTags
0"she snapped (snap)"
1"she shouted (shout)"
dialogueSentences55
tagDensity0.4
leniency0.8
rawRatio0.091
effectiveRatio0.073
82.9075%