Run: 2026-02-19-01KHTYM232EDET29XZVMN1R11X

Run Details

Duration:
46.7s
Cost:
$0.008632
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Horror genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> </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 horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The pendant burned against her sternum like a small, honest coal, warm enough to make Aurora swallow and quicken her step between the oak standing stones. She kept her hand on it, fingers hooked around the thin silver chain, and let the pull of the warmth guide her deeper into the clearing. She had not come for thrills. She had come because the Heartstone had pulsed at the kitchen window three nights ago, sharp as a cough, and she had felt Evan's absence like a hollowed tooth. Whoever had slipped the pendant into her palm outside Silas' bar had left no note, only the insistence that certain doors opened when they pleased. The pendant pulsed faintly when it registered a Hel portal. Tonight it pulsed like a living thing chasing its pulse. Wildflowers leaned into her legs as she passed, colours that should not have held in the cool dark, brushing silk against her calves. The petals smelled like cloves and old paper, a scent that bit at memory. Aurora paused, listening. The Grove made sounds that did not belong to any one creature, a choir of unclaimed noises, and she catalogued them by habit. Leaves rubbing, too slow for wind, like someone counting the minutes on their knuckles. A skitter beyond the stones, rhythm like a shoe on gravel but no echo. A high thin laugh, then the muffled thump of something heavy, rolling without weight. She forced her shoulders down. The Grove took at least three forms of wrongness: the obvious, the sly, and the cruel. The obvious — eyes where no eyes should be — would have made her run months ago. The sly dug at a seam in her resolve. The cruel waited for that seam to open. "Hello," she said, voice small but steady. She let the word hang, watched it move the air between the trees. It returned nothing, then returned everything at once, a muted echo made by different mouths. A child's voice, a woman humming from a distance, a man clearing his throat. Each voice spoke her name in the same breath. "Aurora." The voices did not match, they overlapped like a recording played on too many machines. Each version coloured the name differently, as if the grove had auditioned itself. Her fingers tightened on the pendant. The crescent scar on her left wrist prickled under the fabric of her sleeve, a sharp-neat memory of a kitchen knife and a careless laugh. She drew her sleeve back and traced it, a tiny moon beneath the skin. The pendant thrummed warmer. She had learned to trust small things. Time here folded thin, a rule she kept like a talisman. An hour inside could be minutes outside, days could be the length of a cigarette. She moved forward with the rules in mind, measuring steps like a surveyor. The standing stones receded behind her, carved oak faces smoothed by weather and touch, arranged in a ring that tasted like an invitation and a warning. Something moved at the edge of her vision. Not a thing with limbs and breath, at first only a shadow that did not fall with the rest. It shifted like somebody passing behind a curtain. She blinked and the shadow was gone, but the smell remained, metallic and green, as if something wet had been tucked into earth. Aurora scanned the clearing. The grass held the moonless kind of blackness that absorbed light and hope. Flowers clustered around a pool she had not seen at the edge of the stones, a bad-placed mirror in the middle of carpet. The pendant thrummed louder still, a heartbeat under her tongue. When she lowered herself to the water's brink, the surface offered up no reflection, only a smear like oil. She knelt. Her fingers hovered above the pool, the silver chain biting into her palm. The Heartstone pulsed like a tiny heart. A low vibration ran up her arm, first warmth, then cool, then warmth again. The motion was hypnotic. She wanted to laugh at herself and the smallness of a pebble pulling at her like a lover. "Aurora Carter." The voice this time was closer, shaped like her own name by someone who knew its weight. It sounded friendly and intimate, a dangerous pair to keep together. "Who are you?" she asked. You breathe, and the leaves do the same. The answer had no shape until the water made one. The surface stuttered, and for a blink nothing moved. Then an image rose through the water, an outline like someone made the shape of a person out of shadow and wet glass. It matched her roughly, the slope of her shoulders, the set of her jaw, the way she held herself when she expected trouble. It smiled without warmth. "You found it," the shape said, voice stitched from the other voices. "You found your way through the stones." Aurora's hands left the pendant, reached for her phone out of reflex, but the screen stayed dark when she tapped it. The Grove cared nothing for batteries. The Heartstone pulsed so hard now she could feel it against her collarbone. A tiny red light seemed to flicker under its surface. She kept her voice level, measured. Panic would be loud here. "This isn't a place for games." "Games?" The silhouette tilted its head, a motion too smooth to be human. "You played a long time ago." The smear of glass answered her with an image, not a memory but a suggestion. A younger Aurora, laughter leaked from her mouth, a face framed by stray hair. A man in the edge of the shot, arms reaching out like vines. The pendant flared hot enough to sting. She knew then the Grove did not respect the fences of story. It enjoyed edits. "A name," she said. "Who reached me? Who gave me the pendant?" Silence, then the rustle of the wildflowers, as if they shifted to listen. The silhouette knocked at the surface of the pool with something like curiosity and the water answered with a whisper. "A benefactor leaves coins," it said. "A benefactor leaves bones. But you took the thing that hums." "You call gifts a favour," she said. "Why me?" Because you step through, the Grove replied without words, a thought folded into the cool of the stones. You break the circle. You remember names. Aurora brushed soil from her palm, the dirt feeling like ash. The Heartstone's pulse stuttered. She had expected riddles. She had not expected the Grove to press questions like a surgeon, blade precise, merciless. Movement at the edge of the clearing caught her eye, a rhythm irregular, two figures passing through the trees then doubling back, always staying just out of the circle's edge. The Grove shifted its attention, a predatory narrowing, and with its attention came the subtle tightening in her gut. She was not alone in the way that mattered. Her breath fogged in the clearing with each small exhale, a line she watched as if it might make a map. The silhouette watched her move, mirrored and slow. It stepped from the water in pieces, not whole like you would expect, instead a knee, then an arm, disjointed as a marionette. When it finally took shape, the figure was almost Aurora, wrong like a picture flipped in a mirror. "You shouldn't bring your past here," it said. "I came for answers," she said. "If you know what happened to Evan, tell me." The mirror paused, an expression she recognised nowhere. The voice shifted, slurring names together, a chorus lifting and falling. "Names open doors. Names feed. Names close over mouths. He left the clay warm." Heat crawled up her spine. Evan was a dark place in her life, a bruise that had not healed. She had left him. He had liked power and small violences. If Evan had crossed a threshold, it would explain the ache the pendant had matched in her chest. "Did he go through here?" Her words were nailed down, precise. The silhouette's smile widened, ridiculous and far too patient. "Many people think Hel is a doorway. A hole. A thing you walk through. It is more honest to call it a reflection. You look into it, and it looks back, and sometimes it takes a look of someone you know and keeps them as a souvenir." Aurora's jaw worked. She pictured Evan, hands angry, his promises like small knives. She pictured the last night, the final scream swallowed by the flat plaster of their flat. She pictured the pendant pulsing at the kitchen window and a map of routes in her head, the Grove as a node. "Souvenirs aren't people," she said. "Souvenirs learn to speak." The figure mimicked her, elastic and wrong. "Souvenirs keep telling themselves they are what they once were. The world is full of things pretending." A twig snapped behind her, deliberate. She turned and caught a glimpse of movement, a patch of dark where form should have been. She did not see faces, only the suggestion of shoulders and the glint of teeth like light in wet fur. The pendant screamed coldly against her skin, a reversed heart. "You're not alone," something whispered by her ear, voice thin as linen. Aurora spun. The ring of stones had rearranged, the path she had taken now folded into itself. The standing stones that marked the boundary had small notches carved into them that had not been there earlier, runic scratches that shuddered like teeth. Her exit had closed like an eyelid. She swallowed hard. The Grove tightened, delighted. The wildflowers bowed toward the silence at the centre, as if they were listening for applause. The silhouette stepped forward, and the water at its feet sang. "You should have left at the stones," it said, each word a calm blade. "You should have left when you heard your own name in a child's laugh." "I left him," Aurora said, her voice thin with a new, determined edge. "If you have him, I'll take him back." A laugh that was both pity and hunger dropped into the clearing. The silhouette raised a hand, and where its fingers brushed the surface of the pool the water deepened, black and accepting. The air around her thickened, as if someone had poured honey into the world and then been stingy with the spoons. "You think you take things back," the Grove murmured, soft as moth wings. "You can't put a story back into a book after it's been read." The Heartstone pulsed faster, so rapidly her teeth clicked. It flared, a small crimson heartbeat bare against the fabric of her blouse. For a second Aurora saw not the mirror figure but a dozen faces pressed under glass, mouths moving like drowned people, each calling a name she almost knew. Her fingers closed on the pendant without intention. The silver chain yawned taut, then snapped, not in metal but in sense, and the pendant slipped between two fingers of the silhouette's hand, which was nearly her own but not. It took the jewel as easily as someone lifting a coin from a tabletop. The sudden absence of heat left a hollow cold at Aurora's chest. "No," she said, and the word had weight. She lunged forward, instincts old as teeth. Her fingers closed on damp willow-skin, the texture wrong and living, and the silhouette laughed, a sound like wind through a grave. Aurora felt the pull then, not of the stones but of the pool, like someone tightening a noose that was invisible until it cut. Roots, or hands, or the memory of roots, wound around her ankles. The world narrowed to the press of earth and the slick of water and the taste of iron where the pendant had been. She did not have the chance to think of running. The Grove moved in a tide, pushing her toward the pool. She dug her nails into the grass, heard flesh tear, felt the soil pull at the skin. The silhouette held the pendant high, the red gem a steady pulse against the dark, a heartbeat she had lost and could no longer chart. "Stay," it said, soft as a blessing, and its mouth was all teeth. The water rose like a breath. The wildflowers bent their stalks to make a crown for the sky. The standing stones exhaled, and the clearing closed in.
created_at"2026-02-19T12:39:57.803Z" 2/19/2026, 12:39:57 PM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency7636
moderation_latency(null)
generation_time46559
tokens_prompt4560
tokens_completion3932
native_tokens_prompt4064
native_tokens_completion4240
native_tokens_completion_images0
native_tokens_reasoning1664
native_tokens_cached3840
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"
usage0.008632
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_04828b8d1ff20d29016997049de80881969f26da9ee859b1f5"
is_byokfalse
latency150
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504797-IO1kBUApapQrFvwbbGlx"
upstream_id"resp_04828b8d1ff20d29016997049de80881969f26da9ee859b1f5"
total_cost0.008632
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
totalTags18
adverbTagCount0
adverbTags(empty)
dialogueSentences33
tagDensity0.545
leniency1
rawRatio0
effectiveRatio0
97.59% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2071
totalAiIsmAdverbs1
found
0
adverb"coldly"
count1
highlights
0"coldly"
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)
25.16% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2071
totalAiIsms31
found
0
word"warmth"
count4
1
word"pulsed"
count6
2
word"pulse"
count3
3
word"silk"
count1
4
word"echo"
count2
5
word"weight"
count3
6
word"resolve"
count1
7
word"traced"
count1
8
word"scanned"
count1
9
word"could feel"
count1
10
word"flicker"
count1
11
word"measured"
count1
12
word"silence"
count2
13
word"whisper"
count1
14
word"glint"
count1
15
word"determined"
count1
16
word"grave"
count1
highlights
0"warmth"
1"pulsed"
2"pulse"
3"silk"
4"echo"
5"weight"
6"resolve"
7"traced"
8"scanned"
9"could feel"
10"flicker"
11"measured"
12"silence"
13"whisper"
14"glint"
15"determined"
16"grave"
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
narrationSentences149
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences149
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences162
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen47
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2070
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions21
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions38
wordCount1827
uniqueNames7
maxNameDensity0.71
worstName"Aurora"
maxWindowNameDensity2
worstWindowName"Grove"
discoveredNames
Aurora13
Heartstone5
Evan4
Hel1
Grove11
You3
Silence1
persons
0"Aurora"
1"Heartstone"
2"Evan"
3"Grove"
4"You"
places
0"Silence"
globalScore1
windowScore1
89.02% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences123
glossingSentenceCount3
matches
0"smelled like cloves and old paper, a scent"
1"tasted like an invitation and a warning"
2"something like curiosity and the water answe"
6.76% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords1.932
wordCount2070
matches
0"not a memory but a suggestion"
1"not the mirror figure but a dozen faces pressed under glass, mouths moving like drowne"
2"not in metal but in sense"
3"not of the stones but of the pool, like someone tightening a noose"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences162
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs54
mean38.33
std20.21
cv0.527
sampleLengths
052
180
263
342
455
535
623
729
856
965
1058
1169
1258
1330
145
1518
1659
1719
1850
1917
2019
2164
2212
2333
2417
259
2625
2734
2858
2970
308
3115
3233
3348
3411
3556
3651
375
3828
3953
4012
4149
4234
4328
4421
4554
4626
4750
4865
4937
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences149
matches
0"was gone"
1"been tucked"
2"were nailed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs296
matches
0"were listening"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount0
flaggedSentences1
totalSentences162
ratio0.006
matches
0"The obvious — eyes where no eyes should be — would have made her run months ago."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount262
adjectiveStacks0
stackExamples(empty)
adverbCount6
adverbRatio0.022900763358778626
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences162
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences162
mean12.78
std7.23
cv0.566
sampleLengths
026
126
26
329
425
510
610
723
814
93
1023
1114
1214
1314
145
1516
1617
179
188
197
2013
2115
2214
239
2416
2513
266
2725
2814
294
307
3111
3215
3313
3426
358
3619
378
3823
394
4013
4123
4210
4319
442
4513
467
4714
484
4918
32.72% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats28
diversityRatio0.25308641975308643
totalSentences162
uniqueOpeners41
23.81% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences140
matches
0"Then an image rose through"
ratio0.007
80.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount49
totalSentences140
matches
0"She kept her hand on"
1"She had not come for"
2"She had come because the"
3"She forced her shoulders down."
4"she said, voice small but"
5"She let the word hang,"
6"It returned nothing, then returned"
7"Her fingers tightened on the"
8"She drew her sleeve back"
9"She had learned to trust"
10"She moved forward with the"
11"It shifted like somebody passing"
12"She blinked and the shadow"
13"Her fingers hovered above the"
14"She wanted to laugh at"
15"It sounded friendly and intimate,"
16"You breathe, and the leaves"
17"It matched her roughly, the"
18"It smiled without warmth."
19"She kept her voice level,"
ratio0.35
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount129
totalSentences140
matches
0"The pendant burned against her"
1"She kept her hand on"
2"She had not come for"
3"She had come because the"
4"The pendant pulsed faintly when"
5"Tonight it pulsed like a"
6"Wildflowers leaned into her legs"
7"The petals smelled like cloves"
8"Aurora paused, listening."
9"The Grove made sounds that"
10"Leaves rubbing, too slow for"
11"A skitter beyond the stones,"
12"A high thin laugh, then"
13"She forced her shoulders down."
14"The Grove took at least"
15"The obvious — eyes where"
16"The sly dug at a"
17"The cruel waited for that"
18"she said, voice small but"
19"She let the word hang,"
ratio0.921
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences140
matches
0"Whoever had slipped the pendant"
1"Because you step through, the"
2"If Evan had crossed a"
ratio0.021
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences83
technicalSentenceCount4
matches
0"Wildflowers leaned into her legs as she passed, colours that should not have held in the cool dark, brushing silk against her calves."
1"She blinked and the shadow was gone, but the smell remained, metallic and green, as if something wet had been tucked into earth."
2"The standing stones that marked the boundary had small notches carved into them that had not been there earlier, runic scratches that shuddered like teeth."
3"Aurora felt the pull then, not of the stones but of the pool, like someone tightening a noose that was invisible until it cut."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags18
uselessAdditionCount5
matches
0"she said, voice small but steady"
1"the shape said, voice stitched from the other voices"
2"The silhouette tilted, a motion too smooth to be human"
3"something whispered, voice thin as linen"
4"she said, and the word had weight"
89.39% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags15
fancyCount2
fancyTags
0"something whispered (whisper)"
1"the Grove murmured (murmur)"
dialogueSentences33
tagDensity0.455
leniency0.909
rawRatio0.133
effectiveRatio0.121
81.4817%