Run: 2026-02-19-01KHTYKEQATB8R3P7Y85PVCMQA

Run Details

Model:
GPT-5.1
Duration:
2m 5s
Cost:
$0.053175
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
The suspect vaulted the bonnet of the black cab and vanished between two buses. Quinn swore, boots skidding on the slick tarmac as a horn blared at her back. She cut in front of the cab, palm up, flashing her warrant card without breaking stride. "Police, move it." Someone shouted. Tyres hissed. She trusted drivers would prefer points on their licence to manslaughter and pushed harder, rain needling her face, coat heavy with it. Ahead, the lean figure in the grey hoodie darted towards the jumble of lights and late-night bodies around Camden High Street. He glanced back once. Pale face, hollow beneath the hoodie, eyes that flicked over her in one sharp, assessing sweep. Not panic. Calculation. Good, she thought, lungs burning. The clever ones made mistakes when they thought too far ahead. He cut right, into a narrower side street between a tattoo shop and a closed newsagent. The shopfront shutters rattled as he clipped them. She followed, the thud of bass from a nearby bar thinning to the echo of her own footsteps. "Stop, police." He did not stop. Figures. Brick walls closed in, tagged with old graffiti buried under fresh, all of it streaming with dirty water. A skip blocked half the alley. He scrambled up its slick side, used a broken pallet as a foothold and swung himself over the wall beyond. Quinn did not slow. She hit the skip hard, metal booming under her weight. Her boots slid. She grabbed the rim with numb fingers and dragged herself up, shoulder muscles screaming in protest. Over the top, legs out, drop. She landed wrong, ankle twisting on the uneven cobbles. Pain stabbed up her shin. She rolled with it, used the momentum to come back to her feet and found herself in a dead service yard behind the high street, hemmed in by the backs of buildings, overflowing bins, the sour smell of rot and old fry oil. Grey Hoodie was already crossing the yard, heading for a set of iron railings that fenced off a short flight of steps. A rusted sign hung from the gate. NO PUBLIC ACCESS L.U. MAINTENANCE ONLY He grabbed the bars, shook them once, then produced something small and pale from his pocket. For a second it caught the weak light from a lone security lamp, narrow and slightly curved. Bone, her brain supplied, unhelpfully. He pressed it to the lock. The padlock did not open so much as slacken, metal seams going soft and dark, the chain drooping like chewed liquorice. He slipped through, hauled the gate behind him and took the steps two at a time, vanishing into the dark below. Quinn stopped short, chest heaving. Metal works failed, she thought. Old lock. Cheap council job. She tasted the lie like stale smoke and swallowed it anyway. Three choices lined themselves up in her head, neat as evidence bags. Call it in. Wait for backup. Lose him. Find another way round. Hope he surfaced on the high street again. Unlikely. Go in alone. No signal. No CCTV. Unknown territory. Her wristwatch ticked steadily against her skin. Twenty-three eighteen. No time to stand and draft a risk assessment. "Morris would have gone," she muttered, and hated herself at once for saying his name out loud. She moved to the gate. The chain hung loose now, the padlock dark and pocked as if it had rusted through in seconds. She pushed. The hinges shrieked, loud in the enclosed yard. Quinn drew her baton and torch, clipped at her belt, and descended. The noise of the city thinned with every step. The air cooled. Damp crept under her collar, clung to her hair. The concrete walls on either side felt close, the narrow stairwell swallowing the last spill of streetlight after the first turn. She flicked the torch on. The beam cut through dust motes and picked out old red tiles on the walls, cleaner where a hand had slid along recently. Voices murmured below, too many to place, a low, constant susurration. Not one man in a hoodie. It sounded like a crowd. She reached the bottom of the steps and stopped. An old underground passage stretched ahead, arched ceiling ribbed with flaking, once-white plaster, now the colour of old teeth. Faded posters from another decade peeled from the walls in curling tongues. Somewhere distant, water dripped in a slow, uneven rhythm. The passage should have been silent and sealed. She had seen the decommissioning reports for half the abandoned stations in the city, after Morris, after that case. None of them mentioned what she saw now. Light pulsed at the far end of the tunnel, not the steady white strips of Transport for London, but a shifting mix of colours, greens and golds and deep dull reds, like distant lanterns through fog. The murmur of voices swelled and eddied. Her phone vibrated in her pocket. Control, probably chasing her location. She ignored it. Signal would die the next bend anyway. Quinn moved, steps careful on the damp floor. Her torch beam picked up footprints in the grime, a busy, confused scatter, some fresh, some old. Recent shoes, different treads and sizes. Not just one suspect. The smell hit her halfway along. Not damp and mould, though those were there, ghosts under the rest. Spices she could not name. Burnt sugar. Hot metal. Animal musk. Cigarette smoke threaded through with something sweet and chemical. Her heart began to drum faster, a colder rhythm than the run above. Someone had carved a symbol into the grime near the floor, a swirl of lines that dipped and crossed back over themselves, half wiped by a heel. Something like the thing they had found drawn in Morris's blood on that flat's kitchen tiles. Coincidence. It had to be. At the end of the passage, the tunnel opened out. A heavy metal gate divided the space, the kind that belonged in a secure depot, bars thick as wrists. Beyond it, stairs dropped again, but their view was blocked by fogged glass panels and slats of old advertising boards lashed together on the inside, forming a makeshift barrier. Light bled through the gaps, flickering. A figure stepped out of the shadows beside the gate. He stood well over six foot, shoulders straining a too-tight black shirt, the sleeves rolled to show forearms crosshatched with pale scars. His skin had the dark tone of someone from somewhere warmer than London, but his accent, when he spoke, came out flat and familiar. "You are lost, Detective." Her hand had gone to her hip without conscious thought, fingers brushing the butt of her Glock, and she left them there. "Open it," she said. He smiled, slow and without humour. His teeth looked too sharp, though that could have been the light. "No one goes in without a token." He nodded at a battered tin on a crate near his foot. It sat filled with pale, curved slivers, each one like the thing Grey Hoodie had pressed to the padlock above. Bones. Small. Finger widths. "You have a name," she said. "You do not want my name." He tilted his head, eyes flicking over her as if weighing the distance from gun to throat. "And you do not want the place down there." "My suspect went through your gate thirty seconds ago." "Then he is not your suspect any longer." She took a slow breath. Smell of clove, stale sweat, damp metal. Her ankle throbbed with each heartbeat. "You interfere with an active investigation, I arrest you." "No, Detective Quinn. You go back upstairs, you forget you saw a door where there is no door, and you live to drink bad station coffee tomorrow." Her surname in his mouth froze her. "How do you know who I am." He shrugged, heavy shoulders rolling. "This city has more eyes than CCTV." His gaze slid briefly to his left, past her. "You are not the first to come sniffing. You will be the first to go back upstairs." He believed it. She saw it in the easy way he held himself, weight on one leg, gate key on a strap wound round his fist. She also saw the tension in his neck, the way his free hand twitched near a length of metal pipe leaning against the wall. She thought of Morris lying on his back in that flat, eyes wide, mouth open on a word that had never come. Of the symbol on the tiles. Of the report stamped CLOSED that had not matched the body she had zipped into the bag. Quinn holstered the torch. The light now came mostly from beyond the gate, shivering lines through the gaps. Figures moved behind the fogged glass, their shapes warped, too tall or too narrow or bent at angles that made her eyes ache when she stared too long. "I am not leaving," she said. The man sighed, a long slow exhale. "Then you give me a token, Quinn." He reached into the tin and drew one out. He turned it between thumb and forefinger. A metacarpal, from something small, polished by many hands. "Got any spare ribs back there," she said. "We can talk about it over a plate." That twitched something at the corner of his mouth. "Jokes. Good. Means you are not yet afraid enough." She stepped closer, staying just outside his reach. "What is this place." "We call it the Market." He lifted the bone a little, as if in a toast. "You are late. Doors close soon." "In which case," she said, "I will not waste more of your time." Her hand moved before he clocked her intention. She snapped her baton out, steel shaft telescoping with a sharp click, and jammed it through the bars. It caught him in the ribs, a hard stun, more warning than damage. He grunted, staggered back, key hand loosening. She grabbed the gate, shoved. He recovered fast. The pipe clanged against the bars next to her fingers. She yanked her hand back, then drove the baton into his wrist. The keyring slipped, skittered across the floor. They both went for it. He had reach. She had intent. She stamped on his instep, felt the crunch of bone or metal under her sole. He swore in something guttural and strange. The pause gave her enough space to dive, shoulder scraping the floor as her fingers hooked the ring. Cold metal. Victory. She rolled, used the spin to get back to her feet as he swung the pipe again, this time higher. "Do not do this," he said, breath ragged. She ducked under the arc, felt air stir her cropped hair, and worked the first key into the heavy padlock on the gate. It did not fit. Of course it did not. Second key, thicker, rusted at the teeth. She jammed it in, turned. The lock clicked. Voices on the far side rose, a shiver in the sound, some thread of alarm running through whatever lay beyond. "Last warning, Detective," the man said. "Bored of warnings," she said. She tore the lock free and threw her weight against the gate. It swung inward with a protesting groan. The noise hit her first. The Market roared. Sound rolled up the short flight of steps in a hot wave, layered with smells that made her eyes water. Sizzling meat, acrid smoke, perfume so sweet it turned her stomach, wet fur, old blood. Cries in a dozen languages climbed over one another, some familiar, some so wrong her brain slid off them. Light flooded the stairwell, a chaotic wash from mismatched bulbs, naked flames, strings of coloured fairy lights, lanterns shaped like insects, glass jars filled with things that glowed on their own. Quinn hesitated on the threshold. Not fear, she told herself. Assessment. One, this was off-grid. No Met protocols, no guidelines. Two, the man behind her had not tried to kill her. Only stop her. Three, that meant something down there terrified him more than a murder charge. "Better decide," he said behind her, voice low. "The door does not always let people back through." She did not look at him. "That a threat." "A fact." She tucked the baton into her belt, free hand on the rail, and went down. The space that opened before her had once been a train platform. The curve of the tracks still showed under makeshift stalls, tables, cages, piles of crates. Old Tube tiles peeked between cloth awnings and hanging charms. The arched ceiling dripped where decades of grime met new condensation, strands of electrical cable twisting along it like dark vines. Bodies packed the platform. Not commuters. A woman with mirrored sunglasses and a fur coat that moved too much, as if the fur still breathed. A boy with buzzing lines tattooed round his throat, the ink pulsing in time with the music from a stall selling vinyl that smoked faintly. An old man with eyes filmed grey and a string of copper keys round his neck, each one whispering against the other as he passed. Then the ones her mind shoved into the category of costume to keep functioning. A figure whose shadow did not match its movements, lagging half a step behind. A tall thin woman with arms just a fraction too long, fingers hooked like claws, selling glass jars filled with slow-moving darkness. A person built like a weightlifter, skin the colour of fresh bruises, laughter booming as he argued over a crate of something that looked a lot like preserved tongues. Quinn's hand had settled on her holster again without asking her. Grey Hoodie moved through the press partway down the platform, head lower now, shoulders hunched. He cut between stalls with the sliding ease of someone who knew the route well. She pushed into the crowd, using shoulders and a hard expression, flashing the glint of her warrant card when someone squared up. "Oi, watch it." "Move." "You lost, love." She ignored them. Focus narrowed to the shape of the hoodie. He reached a stall built from stacked old suitcases and broken display units. Rows of small bottles lined its front, each stoppered and tied with ragged ribbon, liquids inside swirling slow and thick. Behind them, an array of knives lay on a velvet cloth, blades dull with age or dark with something that was not rust. A man stood behind the stall, his olive skin lit gold from the string of bare bulbs overhead. Curly dark hair, week-old stubble, Saint Christopher medallion glinting at his throat above a plain grey T-shirt. A fresh scar snaked up his left forearm, pink against the older, whiter line running alongside. "Tomás," Grey Hoodie hissed. "Necesito entregarlo ya." Tomás Herrera's gaze flicked past the hoodie, over his shoulder, and met Quinn's. His posture changed in a blink. The easy slouch went. His shoulders drew back, mouth flattening. His eyes, warm and sleepy a second before, sharpened. "Estás hecho polvo, tío," he said without looking away from her. "Who is she." Grey Hoodie kept his back to her, fingers twitching near his pocket. "No time. Take it." He slid a hand towards the table, something small and white cupped in it. Quinn shoved the last body out of her way and closed the distance. "Metropolitan Police," she said. "Hands where I can see them, now." People stilled around them in a widening ripple, like a stone dropped in dark water. Grey Hoodie froze. Tomás did not. He smiled, lazy and disarming, though his eyes did not soften. "Officer," he said, accent wrapping round the word. "You got lost on the wrong line, no." "Hands," she said. He lifted them, palms empty and open. "You are pointing that energy at the wrong guy, jefa." Grey Hoodie bolted. He ducked sideways, away from her, hand slapping the table. Bottles wobbled, liquid inside swirling furiously. One toppled and shattered on the floor, contents splashing across Quinn's boots. The liquid smoked where it hit the concrete, pale vapour curling up round her legs. Cold stabbed through the leather, ice driving into her bones. She staggered, knee buckling. Tomás moved, fast and smooth. He caught her arm, grip firm but not painful, steadying her. "Careful," he murmured. "You do not want to breathe that." She tore her arm free. "Out of my way." Her foot slipped in the spreading liquid. More vapour thickened, rising in a rolling wave. It smelled of freezer burn and hospital corridors, that sharp antiseptic that soaked into your clothes and stayed for days. Grey Hoodie disappeared into it, only the afterimage of his movement left in her eyes. Around them, stallholders cursed, shouting to drag their wares back. Someone chanted under their breath, words hard and quick. A charm, Quinn's brain suggested before she could squash it. The vapour hit chest height. Her breath hitched. Frost crawled along the edge of her coat in a lace of white. A hand clamped on her shoulder from behind, fingers like a vice. "You brought a cop in here," a voice growled near her ear. Quinn twisted, hand already on her gun, as something huge and dark surged at her through the thickening cloud.
created_at"2026-02-19T12:39:37.969Z" 2/19/2026, 12:39:37 PM
model"openai/gpt-5.1-20251113"
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native_tokens_reasoning1119
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is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.053175
router(null)
provider_responses
0
endpoint_id"764eb97f-8bab-4326-b29b-7a8799b00a70"
id"resp_027fa4de0508b0e5016997048a0b608194b892b873230fa3ec"
is_byokfalse
latency157
model_permaslug"openai/gpt-5.1-20251113"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504777-WQ0JMY9rOy6zZ2kplny1"
upstream_id"resp_027fa4de0508b0e5016997048a0b608194b892b873230fa3ec"
total_cost0.053175
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
totalTags20
adverbTagCount1
adverbTags
0"His gaze slid briefly [briefly]"
dialogueSentences50
tagDensity0.4
leniency0.8
rawRatio0.05
effectiveRatio0.04
98.26% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2876
totalAiIsmAdverbs1
found
0
adverb"slightly"
count1
highlights
0"slightly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
61.75% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2876
totalAiIsms22
found
0
word"flicked"
count3
1
word"echo"
count1
2
word"footsteps"
count1
3
word"streaming"
count1
4
word"weight"
count3
5
word"pulsed"
count1
6
word"vibrated"
count1
7
word"familiar"
count2
8
word"throbbed"
count1
9
word"tension"
count1
10
word"stomach"
count1
11
word"chaotic"
count1
12
word"glint"
count1
13
word"velvet"
count1
14
word"glinting"
count1
15
word"shattered"
count1
16
word"charm"
count1
highlights
0"flicked"
1"echo"
2"footsteps"
3"streaming"
4"weight"
5"pulsed"
6"vibrated"
7"familiar"
8"throbbed"
9"tension"
10"stomach"
11"chaotic"
12"glint"
13"velvet"
14"glinting"
15"shattered"
16"charm"
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
narrationSentences258
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences258
filterMatches(empty)
hedgeMatches
0"began to"
1"tried 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
maxSentenceWordsSeen43
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2869
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions23
unquotedAttributions1
matches
0"Not fear, she told herself."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions52
wordCount2589
uniqueNames19
maxNameDensity0.5
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Hoodie"
discoveredNames
Camden1
High1
Street1
Hoodie8
Morris3
Transport1
London2
Glock1
Grey8
Market1
Met1
Tube1
Saint1
Christopher1
Tomás3
Herrera1
Quinn13
People1
Light3
persons
0"Hoodie"
1"Morris"
2"Market"
3"Tube"
4"Saint"
5"Christopher"
6"Tomás"
7"Herrera"
8"Quinn"
9"People"
10"Light"
places
0"Camden"
1"High"
2"Street"
3"London"
4"Grey"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences167
glossingSentenceCount2
matches
0"Something like the thing they had found draw"
1"as if weighing the distance from gun to throat"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.349
wordCount2869
matches
0"not the steady white strips of Transport for London, but a shifting mix of colours, greens"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences288
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs151
mean19
std15.93
cv0.839
sampleLengths
014
131
23
347
423
516
642
72
85
944
1039
1157
1229
136
1438
156
1642
175
1821
1912
208
2113
229
2318
2417
2533
2612
2742
285
2940
305
319
3240
3335
3443
3521
3635
3738
3813
3943
405
4110
4254
4310
4446
454
4622
474
4818
497
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences258
matches
0"was blocked"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs446
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences288
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2596
adjectiveStacks0
stackExamples(empty)
adverbCount77
adverbRatio0.029661016949152543
lyAdverbCount14
lyAdverbRatio0.00539291217257319
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
mean9.96
std7.19
cv0.722
sampleLengths
014
115
216
33
42
52
622
721
84
916
102
111
125
1311
1416
158
1618
172
184
191
2018
216
2220
234
2410
253
2616
276
289
295
3043
3122
327
334
3418
3517
365
376
3821
3921
405
415
422
433
4411
4512
463
473
482
494
61.11% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.3958333333333333
totalSentences288
uniqueOpeners114
74.07% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences225
matches
0"Somewhere distant, water dripped in"
1"Of course it did not."
2"Only stop her."
3"Then the ones her mind"
4"More vapour thickened, rising in"
ratio0.022
61.78% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount89
totalSentences225
matches
0"She cut in front of"
1"She trusted drivers would prefer"
2"He glanced back once."
3"He cut right, into a"
4"She followed, the thud of"
5"He did not stop."
6"He scrambled up its slick"
7"She hit the skip hard,"
8"Her boots slid."
9"She grabbed the rim with"
10"She landed wrong, ankle twisting"
11"She rolled with it, used"
12"He pressed it to the"
13"He slipped through, hauled the"
14"She tasted the lie like"
15"Her wristwatch ticked steadily against"
16"she muttered, and hated herself"
17"She moved to the gate."
18"She flicked the torch on."
19"It sounded like a crowd."
ratio0.396
77.78% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount172
totalSentences225
matches
0"The suspect vaulted the bonnet"
1"Quinn swore, boots skidding on"
2"She cut in front of"
3"She trusted drivers would prefer"
4"He glanced back once."
5"The clever ones made mistakes"
6"He cut right, into a"
7"The shopfront shutters rattled as"
8"She followed, the thud of"
9"He did not stop."
10"Brick walls closed in, tagged"
11"A skip blocked half the"
12"He scrambled up its slick"
13"Quinn did not slow."
14"She hit the skip hard,"
15"Her boots slid."
16"She grabbed the rim with"
17"She landed wrong, ankle twisting"
18"Pain stabbed up her shin."
19"She rolled with it, used"
ratio0.764
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences225
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences107
technicalSentenceCount5
matches
0"Pale face, hollow beneath the hoodie, eyes that flicked over her in one sharp, assessing sweep."
1"Grey Hoodie was already crossing the yard, heading for a set of iron railings that fenced off a short flight of steps."
2"Figures moved behind the fogged glass, their shapes warped, too tall or too narrow or bent at angles that made her eyes ache when she stared too long."
3"Light flooded the stairwell, a chaotic wash from mismatched bulbs, naked flames, strings of coloured fairy lights, lanterns shaped like insects, glass jars fill…"
4"A person built like a weightlifter, skin the colour of fresh bruises, laughter booming as he argued over a crate of something that looked a lot like preserved t…"
75.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags20
uselessAdditionCount2
matches
0"He lifted, as if in a toast"
1"he said, voice low"
70.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags17
fancyCount4
fancyTags
0"she muttered (mutter)"
1"Grey Hoodie hissed (hiss)"
2"he murmured (murmur)"
3"a voice growled (growl)"
dialogueSentences50
tagDensity0.34
leniency0.68
rawRatio0.235
effectiveRatio0.16
89.3252%