Run: 2026-02-19-01KHTYM46M3D8W0TVVXEEMJ6DC

Run Details

Duration:
1m 12s
Cost:
$0.011909
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction 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> <character id="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</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> </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 literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. 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
He saw the crescent of white at her wrist before he saw her properly. She filled the doorway with an economy of movement, a delivery bag slung over one shoulder and a face that had been sharpened by some private wind. The green neon above the door cut across her black hair, made her blue eyes look colder for a second. Silas set the glass down a little harder than he meant to. It sang against the wood. "Rory," he said, because some names needed to be said aloud to be believed. "Silas." She let the delivery bag fall to her feet. Chopsticks clicked inside a paper box. "You still keep the worst biscuits." He smiled without humour. He had kept the same bar because it had been simpler than keeping a secret. The walls smelled of lemon oil and old smoke. Maps sagged in their frames. A bookcase hid the back room, and the signet ring on his right hand caught the light as he rubbed it, keeping a familiar motion between them. "You left," she said. "Lots of people left," he answered, and the sentence could have been about Prague, about spies, about the slow exodus that had emptied the lives he'd known. He moved behind the bar, polishing the glass as an excuse to place a thin wall between them. "You went quiet for a while." "Life tends to get noisy if you let it," she said. She spoke like someone who had learnt to measure words, to stack them where they would do the hardest work. "I delivered here once. Didn't know the owner counted stock by memory." He looked at her as if he were cataloguing a set of photographs: the straight shoulder-length black hair, the bright blue eyes, the way her hand hovered near the crescent scar on the inside of her left wrist, the small thing that no one had ever noticed except him now. He had seen scars before, on other people's hands, on his knees. He kept a mental catalogue of necessities, of who could be trusted. "You live above," he said. "For now." She shrugged. She kept the shrug small. "Rent's cheaper than the liver I used to have in Brixton." "Golden Empress?" He named the restaurant before she could, because she worked there, part-time, deliveries. He had known a lot of small facts about the people he'd once watched over. They arrived to him like currency. "Yu-Fei's place," she said. "Cooking keeps the hands busy at the end of the day. And the boss is kind." Silas considered the word kind in relation to his life. Kind had a way of softening edges people could not afford. He reached for a bottle, not for drink but for ballast. "You look…different." He said the truth as question. He had started enough conversations that way. It allowed people to answer without immediate defence. She laughed, and it was a sound that had learned to duck. "You mean crisper? People think the city buffets you into better posture." "You cut your hair." "And you kept the limp. Decorative." He let the comment sit. He had kept the limp the day Prague shut down and the other men's faces went blank. The limp was history that didn't need repeating. She had kept the scar. There was an economy of loss between them. "Why didn't you come when Eva wrote?" he asked, and the name landed softly, like a stone dropped in still water. Rory's shoulders tightened. "Because I made another plan." "Plans are how people forgive themselves," he said. He wanted the conversation to take the easier route—the weather of their lives, the small talk of loss. But the name Evan, buried in the spaces between her words, made the bar feel smaller. He had known of Evan, as everyone with a network did. Names circulated, reputations whispered down back alleys. He had been in positions where a whispered name could bend a man's future. He had chosen, once, not to bend when the decision should have been simpler. "You could have come," he said, softer. "We had channels. I had ways to—" "To what?" Her fingers drummed the paper bag. "To put a shadow over a life I was trying to escape? To make you feel less guilty while I kept looking over my shoulder?" Silas did not deny guilt. He had shelves of it stacked behind his bar. Guilt had been a currency in Prague that did not convert. "I had a job." "That job did a good job of being absent." She shook her head. "People disappear in that line of work, Silas. Not the good kind. Wives, friendships, faces. You disappear by consent, but the rest vanish because you left them to." Silas' mouth tightened. He could have remembered other times he had left, clients who had relied on him. He could have recited procedural excuses. Instead he said, "I sent people." "You sent people," she echoed, as if tasting a memory. "I watched them stand in the doorway of my flat and not come in." "You told them not to," he said. "I told them to be subtle," she corrected. "Which meant ineffective." A waitress passed with a tray and gave them the distance that bar staff give to conversations with sharper edges. Silas watched the girl's back, the way she crossed the room as if she could carry away the sound of old arguments. He wanted to say sorry in the way adults say sorry, with caveats and footnotes, but he had never been practised at small mercies. "What did you expect, coming here?" he asked finally. "A reconciliation? Wine? An old friend with a limp and a little bit of redemption?" "Truth," she said. "Closure. A look that said this was the line and we both stepped over it." Silas thought of the Prague operation, the mistakes made in the cold, the single message that had trickled through and undone them all. He had packed a life away after that, because the alternative had been to keep living inside the fault. He had thought his retreat would be mercy. He had thought he was sparing them both. "Well," he said, "truth is rarely comfortable." Her mouth flattened. "You seem to be doing all right with comfort now. The bar suits you." "It's honest work," he said. "People spill the truth here. They also spill everything else." She watched him. For a moment, the years folded and he saw the boy who had once played at being older than he was, the man who fed words to those who had none. There had been a time when she had sought him out for advice. Now she measured every syllable. "Do you miss it?" she asked. "Some days," he admitted. The admission was small, a window opening. "Other days, I miss the certainty of knowing the next wrong could be fixed with a choice." "Certainty." She tasted the word. "You were always in love with certainty, weren't you? You married it with a neat ring and a tidy resignation." He felt the signet on his right hand as if it were an anchor. "A ring keeps you honest," he said, because his hands moved to tell the truths he avoided saying aloud. "You were never honest with me," she said. The accusation landed with the weight of everything they'd both left unsaid. It was not sharp; it was patient. Silas reached for a towel, recovered his composure like an operative retrieving a plan from memory. "You said you didn't want help," he reminded her. "I respected it." "I said I was fine." Her voice dropped to the level of confessions. "When you asked me if I needed to leave, I said I was fine because leaving sometimes means you get followed. I said I was fine because admitting you're not makes you a target even longer. I said I was fine because I was proud in the way stupid people are proud, and silence felt like bargaining." Silas folded the towel, folding such a way that the movement grounded him. "Pride is expensive," he said. "And lonely." Their conversation had been a tide, pulling them closer to the raw coast of regret and then pushing them away. The room filled with the regular noises of a bar: a spoon scraped a saucer, a couple argued in sullen tones at the far table, the neon hummed like a small animal. The intimacy of the past was a pressure against the ordinary. "Are you all right now?" he asked. She laughed again, softer. "Since when do you ask out of concern?" she said. "Since when did you have spare concern?" "Since I stopped doing worse things for better reasons," he said. "You mean since Prague?" Her voice contained an impossible mixture of distaste and curiosity. "Since then," he said, and the word contained a world. She glanced at the bookcase, at the seam where the hidden room lived. She had been in the bar before, years ago, in a different life, and she remembered the way the back room smelled of old paper and colder things. She looked at him as if she had always wanted to know whether he'd left a light on for her in the dark. "You could have told me," she said. "I could have," he agreed. "But sometimes telling is worse than silence. And sometimes silence is how you keep people safe from the part of you that wants to fix everything." Her fingers stroked the scar as if reading Braille. "Safety," she repeated. "You made a business of it." He did not answer. A small pause dragged between them, heavy with the weight of old promises and new refusals. "Do you want help now?" he asked finally. "Depends on the help," she said. "If help looks like…organised men in suits who have a way of making people disappear for a while, no thanks. If help looks like someone who'll sit in the dark and listen while I plan my next move, then yes." Silas inclined his head. He had been an expert in listening once, taught to harvest information from people's silences. He had missed the practice. "I can do that," he said. A hand slid under the bar. It was routine—trays, napkins, the daily grind. Then a paper envelope slid across the counter and stopped at his palm. The handwriting was no good at civility. The air in the room changed, the ordinary noises dimmed, like the theatre lights lowering. He did not look at the envelope at once. His fingers curled around it as if something inside would prick. He felt the old reflexes, the compartment blinking open in his skull that catalogued threat. Not very operatively, a bartender. He opened it carefully, like someone used to dealing with fragile things. A photograph fell into his hand. Colour bled at the edges. It was taken from across a street—a building shot, a unit circled. He could tell the angle, the eye of the camera, the patience of whoever had made it. And at the bottom, in sharp print, a name. Aurora Carter. Rory's knife of a breath cut the space between them. "A warning?" she asked. Silas flicked the photo toward her. The circle around the flat was neat, clinical. There was a matchstick cross taped to the image, a child's ritual made monstrous in intent. "You left London because you thought you could choose your silence," he said. "Someone didn't get the memo." Footsteps on the staircase above—the slow, measured step of someone who knew the building. A door banged. The sound was accidental and not. Everyone in the bar listened. Rory's fingers closed on the photograph, knuckles whitening. "Who?" she asked. Silas did not answer. He reached for a drawer, fingers finding the small, cold thing he had kept for when talk became action. The signet ring gleamed. He slid it on, the weight of a different life settling into his palm, into the room. There was a soft crash from above, a hollow that sounded like a door being forced, and then a single, dry report, muffled, like someone closing a book with too much force. The sound hit the room and made every head turn. Rory's delivery bag slumped to the floor as if the weight within had been struck. Silas moved before the second sound could name itself. He swept the towel aside, caught Rory's hand, and the two of them moved together toward the bookcase, toward the seam that had been a secret for fifteen years and now had to be something more. The back room's panel gave with a practiced sigh. He pushed her through and heard the bar door open, footsteps that were too quick, too purposeful, spilling into the main room they had just left. Voices rose, strangers' clipped voices with an accent he recognised only by an imprint in his spine—operational, not social. "Stay behind the shelf," he said. "You're not leaving me," she said. "You're not leaving the city," he replied. He had not planned for tenderness this evening, but plans had always been unreliable. He felt the old adrenaline slide along nerves that had not been used for everyday life in a long while. They stood pressed between book spines and old maps while voices moved across wood and glass. The green neon hummed through the cracks. The air tasted of old paper, and something newer, metallic, like the scent that comes before rain. The door to the back room hovered at his fingertips. He could keep the past folded behind him; he could push forward. His next move would be decisive. Someone laughed in the bar, a brittle, small sound that matched a threat. The man in the doorway called a name that made Rory flinch. "Aurora Carter, we know you're here." Silas' hand tightened on his ring until it bit the skin. He could feel the signet's cold decision. He slid the shelf back an inch, listening to the scrape of wood and the low murmur of voices. The world outside the seam of books had not forgiven them. The past had a way of arriving as a knock and then as a bullet. "Stay low," he said. She did not argue. She reached for his wrist in a quick, almost careless movement and the crescent scar brushed his palm. For a moment, the years shrank to an inch, to the curve of scar against skin. He saw the point where they had both diverged and the place where they now walked back toward the same danger. Someone outside whistled, a thin sound that carried menace. Silas steeled his shoulders. He pushed the panel closed behind them, the books clicking into place like soldiers forming ranks. The bar's warmth dimmed to a near-light through paper and wood. He found the small radio under the counter, his thumb flicked it to a channel he had not used in years. Noise hummed, then matched him with a single, clear voice. "Raven's Nest," he whispered into it, shorthand for the place and the man. "We have a problem." The reply crackled, faint, the voice of a network he had once put together as a safety net and now needed to cast again. "On our way," the voice said. Rory looked at him then, face open in a way it had not been for years. There was no time for reconciliation. There was only the sudden present, the old skills called by necessity. Around them, the bar settled into a waiting shape, the maps on the walls keeping watch. He gave her a curt nod. "Ready?" he asked. She smiled without humour, the same expression she had opened with. "As I'll ever be," she said. A gunshot answered her courage with the rattle of glass in the room below.
created_at"2026-02-19T12:39:59.963Z" 2/19/2026, 12:39:59 PM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency17029
moderation_latency(null)
generation_time71565
tokens_prompt4618
tokens_completion4609
native_tokens_prompt4131
native_tokens_completion5438
native_tokens_completion_images0
native_tokens_reasoning2112
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.01190875
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_0e60876ee725bd7401699704a00a488196abc606f3ab8a2ef5"
is_byokfalse
latency115
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504799-4jfU0z1RNerRxCQmXTPf"
upstream_id"resp_0e60876ee725bd7401699704a00a488196abc606f3ab8a2ef5"
total_cost0.01190875
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
totalTags54
adverbTagCount2
adverbTags
0"he asked finally [finally]"
1"he asked finally [finally]"
dialogueSentences84
tagDensity0.643
leniency1
rawRatio0.037
effectiveRatio0.037
94.35% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2656
totalAiIsmAdverbs3
found
0
adverb"softly"
count1
1
adverb"very"
count1
2
adverb"carefully"
count1
highlights
0"softly"
1"very"
2"carefully"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
60.47% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2656
totalAiIsms21
found
0
word"familiar"
count1
1
word"echoed"
count1
2
word"comfortable"
count1
3
word"measured"
count2
4
word"weight"
count4
5
word"silence"
count4
6
word"flicked"
count2
7
word"footsteps"
count2
8
word"tenderness"
count1
9
word"could feel"
count1
10
word"steeled"
count1
11
word"warmth"
count1
highlights
0"familiar"
1"echoed"
2"comfortable"
3"measured"
4"weight"
5"silence"
6"flicked"
7"footsteps"
8"tenderness"
9"could feel"
10"steeled"
11"warmth"
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
narrationSentences195
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount0
narrationSentences195
filterMatches
0"look"
1"feel"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences228
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen57
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2647
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions50
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions29
wordCount2001
uniqueNames8
maxNameDensity0.6
worstName"Silas"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Chopsticks1
Prague4
Silas12
Rory7
Evan2
Braille1
Carter1
Footsteps1
persons
0"Chopsticks"
1"Silas"
2"Rory"
3"Evan"
4"Carter"
places
0"Prague"
globalScore1
windowScore1
92.31% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences130
glossingSentenceCount3
matches
0"as if tasting a memory"
1"as if reading Braille"
2"sounded like a door being forced, and then"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.378
wordCount2647
matches
0"not for drink but for ballast"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences228
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs95
mean27.86
std20.57
cv0.738
sampleLengths
014
164
214
322
460
54
651
743
874
95
1020
1136
1220
1332
1423
1524
164
176
1843
1921
208
2188
2214
2333
2429
2541
2630
2724
287
2911
3066
3124
3218
3358
347
3517
3615
3752
386
3928
4025
4133
428
4335
4412
4570
4620
4763
487
4921
94.47% Passive voice overuse
Target: ≤2% passive sentences
passiveCount6
totalSentences195
matches
0"been sharpened"
1"been practised"
2"was taken"
3"being forced"
4"been struck"
5"been used"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs362
matches
0"were cataloguing"
1"was sparing"
67.67% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount4
semicolonCount2
flaggedSentences6
totalSentences228
ratio0.026
matches
0"He wanted the conversation to take the easier route—the weather of their lives, the small talk of loss."
1"It was not sharp; it was patient."
2"It was routine—trays, napkins, the daily grind."
3"It was taken from across a street—a building shot, a unit circled."
4"Footsteps on the staircase above—the slow, measured step of someone who knew the building."
5"He could keep the past folded behind him; he could push forward."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount907
adjectiveStacks0
stackExamples(empty)
adverbCount25
adverbRatio0.027563395810363836
lyAdverbCount3
lyAdverbRatio0.0033076074972436605
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences228
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences228
mean11.61
std7.94
cv0.684
sampleLengths
014
127
220
312
45
514
610
76
86
94
1015
119
125
1327
144
1527
1618
176
1811
1920
2012
2150
2212
2312
245
254
265
2711
2815
2915
306
314
3216
3310
3411
3511
368
377
388
3912
4012
414
426
435
4417
458
465
478
4821
493
39.04% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats26
diversityRatio0.3026315789473684
totalSentences228
uniqueOpeners69
41.41% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences161
matches
0"Instead he said,"
1"Then a paper envelope slid"
ratio0.012
1.37% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount88
totalSentences161
matches
0"He saw the crescent of"
1"She filled the doorway with"
2"It sang against the wood."
3"he said, because some names"
4"She let the delivery bag"
5"He smiled without humour."
6"He had kept the same"
7"he answered, and the sentence"
8"He moved behind the bar,"
9"She spoke like someone who"
10"He looked at her as"
11"He had seen scars before,"
12"He kept a mental catalogue"
13"She kept the shrug small."
14"He named the restaurant before"
15"He had known a lot"
16"They arrived to him like"
17"He reached for a bottle,"
18"He said the truth as"
19"He had started enough conversations"
ratio0.547
6.58% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount146
totalSentences161
matches
0"He saw the crescent of"
1"She filled the doorway with"
2"The green neon above the"
3"Silas set the glass down"
4"It sang against the wood."
5"he said, because some names"
6"She let the delivery bag"
7"Chopsticks clicked inside a paper"
8"He smiled without humour."
9"He had kept the same"
10"The walls smelled of lemon"
11"Maps sagged in their frames."
12"A bookcase hid the back"
13"he answered, and the sentence"
14"He moved behind the bar,"
15"She spoke like someone who"
16"He looked at her as"
17"He had seen scars before,"
18"He kept a mental catalogue"
19"She kept the shrug small."
ratio0.907
31.06% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences161
matches
0"Now she measured every syllable."
ratio0.006
83.33% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences84
technicalSentenceCount7
matches
0"He looked at her as if he were cataloguing a set of photographs: the straight shoulder-length black hair, the bright blue eyes, the way her hand hovered near th…"
1"He felt the signet on his right hand as if it were an anchor."
2"He felt the old reflexes, the compartment blinking open in his skull that catalogued threat."
3"Footsteps on the staircase above—the slow, measured step of someone who knew the building."
4"He pushed her through and heard the bar door open, footsteps that were too quick, too purposeful, spilling into the main room they had just left."
5"He felt the old adrenaline slide along nerves that had not been used for everyday life in a long while."
6"The air tasted of old paper, and something newer, metallic, like the scent that comes before rain."
78.70% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags54
uselessAdditionCount5
matches
0"he said, because some names needed to be said aloud to be believed"
1"he asked, and the name landed softly, like a stone dropped in still water"
2"he said, softer"
3"she echoed, as if tasting a memory"
4"he said, and the word contained a world"
81.82% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags44
fancyCount6
fancyTags
0"she corrected (correct)"
1"he admitted (admit)"
2"he agreed (agree)"
3"she repeated (repeat)"
4"Voices rose (voice)"
5"he whispered (whisper)"
dialogueSentences84
tagDensity0.524
leniency1
rawRatio0.136
effectiveRatio0.136
82.4189%