Run: 2026-02-19-01KHTYNEAEK84XN0DBK1140SYS

Run Details

Model:
GPT-5
Duration:
6m 24s
Cost:
$0.060134
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Romance 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="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</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 romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. 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
Lucien Moreau stood on Eva's threshold like a bad idea in an expensive suit. I had the last deadbolt halfway turned when my name left his mouth and turned my spine to wire. "Aurora." "You lost," I said. The tabby at my ankles fluffed to twice his usual size and hissed. Ptolemy never liked men who wore cologne that cost more than this street's rent. Lucien braced himself on his ivory-handled cane and looked at me as if nothing we had left smouldering between us last time had caught fire. One eye, warm amber. The other, black and clear like obsidian. It was an old coin tossed against a dark well and still turning. "This is not a social call." "No. It never is with you." I finished the deadbolt and kept my hand on the chain. "State your business, Frenchman." Something tight pulled near his mouth, not quite a smile. He tilted his head, considering the chain, the cat, the scrolls piled behind me like a hoarder's last stand. "Madame Ellis in?" His voice sank into that soft place between teasing and careful. "Or do the three deadbolts mean you have finally learned?" "Eva's out. Library run." I let the chain slide free. "You say what you need in the hall, or you show me blood." He took a breath and stepped half into the light. The jacket hung wrong on his left side. There, under charcoal wool, a shadow bloomed darker than fine tailoring liked. Ptolemy stopped hissing and began to growl. "Fine," I said. I moved, fast fingers on the chain, and swung the door wide. The smell hit first, not copper, deeper, like struck pennies under hot coals. Half-demon blood always made my throat itch. He slid in without touching me. Air shifted with him, all spice and clean starch and the faint clink of something glass in his pocket. He looked around once, the way a man counts exits and sins. "Nice to see you tidy as ever," I said. "I call it curated chaos," he said. "Of course you do." Ptolemy stalked off with a tail like a flag of war. Lucien watched him go, took in the papers, the chalk circles on the floor, the string board Eva swore she would take down last month. A marked map of London bled fastener holes on the wall. "Kitchen," I said. "If you bleed on anything with ink older than my mother, I will invoice you." "Delightful." He winced as he moved. His limp was new. The cane clicked on scuffed floorboards and he carried it like he knew its other purpose did not want daylight. He had always dressed like the word dapper had been minted for him, and even now, with blood seeping from some invisible seam, he looked like a portrait that charged an entrance fee. In the cramped galley kitchen, I yanked the first aid box from above the kettle and dropped it on the counter. The counter protested with a rattle that let me know Eva had been using it to hide dominoes or worse. The curry house below sent up a ghost of cumin and cardamom that lived in the plaster. "Jacket off," I said. "Mademoiselle." He tried for an elegant shrug. It lasted until the small sound under his breath. He handed me the jacket. His shirtsleeves were darkened near the ribs, the tailored white gone ugly with the spill. I guided him to the chair by the narrow window. No ceremony. My hands moved like I had never stopped doing this. "You choose a fight with the wrong broker or did one of your clients get bored?" I tugged at the buttons. "Wait. Do not answer. I do not care." "You care enough to ask," he said. I slit the fabric with steel scissors I kept for precisely such visits. The blade bit through cotton cleanly. He tensed, the muscles under my fingers drawing and releasing as if they, too, weighed cost. The wound ran from his lower ribs towards his back, not clean, not messy. A thin thing made it, kissed deep and slid on bone. I had cleaned worse. I had told myself I would never clean him again. "Whoever did this knew where to aim," I said. "An educated guess," he said. "Although, if you wish to interrogate me, I prefer wine." "You are not drinking on that." "Prudent as always." "Prudent stops you dying in strange kitchens." I wet a cloth and dabbed. "Hold still." He obeyed. I had forgotten what it did to me when he obeyed. His breath warmed my temple. He watched my hands. Not the wound, my hands. The crescent-shaped scar on my left wrist flashed pale against his shirt. His gaze settled there the way men settled bets. With appetite. "That old thing again," he said. "It does not change," I said. "It tells a story." "It is a scar, not a sermon." I poured iodine, watched the brown creep and bloom. He did not flinch. He never flinched for pain he could catalogue. "Last time I saw you," he said, "you told me to lose your name." "I told you to bury it," I said. "You kept it on a chain." "It is a good name. Yours. Laila. Rory. Malphora." He rolled the letters with a mouth made for secrets. "I am indulgent with fine things." "Indulgent got me nearly thrown off Hammersmith Bridge." "That was a misunderstanding on the part of men whose understanding of gravity is better than their understanding of metaphors." I looked up at him. He did the innocent thing with the eyes. One of them was a night without stars. "You left," I said. "I left you breathing." "You left me holding a debt that was not mine. I paid for your artful exit." He leaned back an inch. The light cut a line across his cheekbone. "Which is why I am here." "To settle it?" I stared at him. "Or to open a new ledger?" He reached into his pocket and set something wrapped in silk on the table. Blue silk, old and soft. I did not touch it. "You think I do not see the hook," I said. "I would never insult you with a hook you could see," he said. "The men at Hammersmith were unpleasant. I corrected that unpleasantness." "How generous." "I like my investments ambulatory." "Lucien." He let my name hang between us. Not one of my aliases, not a joke. The room seemed to hold it with two hands. "I did something to keep you breathing," he said. "I put a lock on your name and fed it to a thing that listens when my father speaks." I tied off the bandage, snug and neat. My stomach turned to chalk. "You did what," I said. "The realm does not love my kind when we refuse it," he said. "A price then. I paid it. I told Avaros you were not for the ledger. As long as I hold, you are... buffered." "You bound me," I said. "I protected you." "Without asking," I said. "If I had asked, you would have said no." He looked at me like the answer was stitched into my wrist. "And then you would have died. Eventually, the mathematics does not care for persuasion." I stood so suddenly the chair scraped harshly. "You cannot calculate me like one of your little crimes." "I have never found your variables comfortable," he said. The tea towel under his hand stained slow and dark. I folded the silk back enough to see a coin the size of a plum pip. Not a coin, a seal. Blackened silver, carved with a sigil that made the little hairs at the base of my skull stand up. I slid the silk back over it. "You brought that thing into Eva's flat," I said. "It enjoys travel," he said. "And it wants to be returned home." "You want me to return it." He looked pointedly at my hands, then at the chalk circles on the floor by the bookshelf. "You have a ritual half drawn already. How serendipitous." "You think I will help you because a coin needs a ride." "Because somebody else already knows I locked your name with it." He lowered his voice. "And because they will come here next. You, Aurora Carter, enjoy a talent for attracting inconvenient suitors." "Still jealous of amateurs?" His smile tilted. "Always." "Tell me who," I said. "An old client," he said. "Coincidences do not exist when you are me. He read my tells. He follows mess like a pig after truffles. And he likes solving locks." "You brought a fox into my henhouse and now you want me to guard the door," I said. "I want you alive tomorrow." "That sounds like an agenda." "Yes." "Honesty looks strange on you." "Do not get used to it." We were close enough that if I leaned a fraction, I could have licked the cut of his lower lip where the razor had missed a hair. I hated knowing that about his face. I hated knowing he had let me learn that. The kettle clicked on where I had brushed the switch with my hip. Steam spiralled, thin and theatrical. Neither of us moved for tea. "I am not sleeping with you," I said. He looked down at my hands holding the bandage tails and up into my eyes. "You are not sleeping." I let go of him like he burned. He grabbed my wrist, not rough, a man catching a falling glass. His thumb traced the crescent on my skin. Cold there, colder than the rest of him. Avaros in the marrow. "Aurora," he said. He always said it best when he did not dress it up. "I cannot undo what I have done without you." "You could try." "It would kill you," he said. "And that would ruin my evening." The floor creaked under someone heavier than a cat. Both our heads turned. Eva's neighbours were loud, fond of night laughter and morning arguments that spilled down the stairs. This tread had purpose. This tread knew the number of deadbolts it needed to break. "You brought him here," I whispered. "I told you he would come." "Lovely. Any other gifts? Rabid dogs? Singing telegrams?" He reached with his free hand and, with a smooth tug, freed a thin sliver of polished steel from the cane. The room found a new stillness around that line of light. Ptolemy, who had turned up on the windowsill to sulk, made a strangled sound like a broken engine. "Stay behind me," Lucien said. I looked at the knife in my sink and at his blade and at the door. I looked at the little coin under silk. None of those things were going to ask permission. "No," I said. "You stay behind me." "You are welcome to that argument," he said. The knock came, polite and patient, as if it had been practising on a thousand doors until it learned how to sound like a friend with biscuits. "Rory?" The voice slid under the wood and laid itself on the floor between us. Wrong voice for this staircase. Wrong city. My lungs forgot their job. Evan. Lucien did not miss the way my knees wanted to turn to water. "Aurora," he said, soft and surgical, "why is a man who smells like anger and cheap gin calling you Rory through a door with three deadbolts." "Because I left him before he finished breaking my ribs," I said. "Open your mouth about it again and I will stuff that cane down your throat." His dark eye flashed. His hand tightened on the hilt, not on me. "Understood." Another knock. Harder. The chain danced. A laugh syruped through. I could see him in my head, the red scar on his knuckles, the little white line on his eyebrow where my keys had split him. "Rory, love. Let me in. We should talk." His voice warmed into the kind of promise that always iced my wrists. Lucien stepped aside just far enough that, if the door gave, anyone storming in would not see him first. The angle of the blade mirrored the line of his cheek. He had done this dance before. "You stay quiet," I whispered. "I am a ghost," he said. Evan's voice softened further. He had learned that tone from eight years of practicing apologies. "I know you are in there. The woman downstairs said a fancy bloke went up. That old friend of yours. The one with the suit and the face." Lucien smiled without humour. "How rude of me to inspire gossip." I moved to the door. My pulse was loud in my mouth. I touched the chain with one finger and did not undo it. "Evan," I said. "You do not belong here." "Oh, come on, love. Do not be like that." "You do not belong here," I said again. His breath hit wood. "So that is it. You run to London. You act new. You take up with posh boys and you think I will not come fetch you." Lucien's head tipped. The corner of his mouth sharpened. "Posh boy," he murmured. "Shut up," I said, without looking. The coin under silk pulsed against the table. It did not move, not truly, but the temperature in the room bent and came back with a taste like burnt sugar. Lucien's eye, the black one, flicked to it then to me. He shook his head once. Not yet. "I am not your fetch," I called through the door. He laughed. The deadbolt above the chain juddered. Metal squealed. Lucien whispered, so close I felt the word against my ear, "You did not consider that he might not be alone?" I swallowed. The breath under the door doubled. Someone else out there, breathing mouth open, wet. "We have a problem," Lucien said. "I noticed," I said. The chain burst its little screws from the jamb with a noise that called every old fear by name. Wood spat like angry hail. The door slammed inward, hit the stopper, rebounded an inch. Evan stood there with two shapes behind him, men with bored eyes and new knuckles. He smiled. It was someone's idea of handsome if you squinted and liked cruelty cheap. "Hello, love." He saw Lucien. His smile thinned. "Oh," he said. "Company." Lucien's blade kissed air. He did not look at me, not once. "Enchanté," he said. The coin on the table flared like a coal waking up. The chalk circles across the room lifted from the floor in pale threads. Ptolemy made no sound at all. He launched himself for the bookcase. Evan's friends took one step each, in time like a march. I grabbed the heaviest thing within reach, which turned out to be an old little brass candlestick that Eva had claimed from a house clearance and called history. It sat sweet in my palm, ready, a good solid old weight with one job left in it. "Close the door," I said to nobody who listened. "By all means," Lucien said, and met the first man halfway. Steel rang. The coin beat like a second heart. The chalk threads flicked once, twice, and then the light in the room bent the wrong way, like a lens taking a breath. Something not in the hall pushed through the window without touching glass. The old pane crazed like ice over a dark pond. Air punched itself out of the room. The smell of hot pennies locked around my throat. "Aurora," Lucien said. He did not have to finish the sentence. I brought the candlestick up as the window exploded inward and the thing that wanted my name found our little kitchen.
created_at"2026-02-19T12:40:43.096Z" 2/19/2026, 12:40:43 PM
model"openai/gpt-5-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency39841
moderation_latency(null)
generation_time383483
tokens_prompt4556
tokens_completion4599
native_tokens_prompt4075
native_tokens_completion5504
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"
usage0.06013375
router(null)
provider_responses
0
endpoint_id"7c2f859a-7890-4e8e-b1de-1cd1c0a800b4"
id"resp_032508de77f1533301699704cb35a88196a69da39cf6e56ce4"
is_byokfalse
latency208
model_permaslug"openai/gpt-5-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504843-UJPUcGDzLZ6ppFJFTprL"
upstream_id"resp_032508de77f1533301699704cb35a88196a69da39cf6e56ce4"
total_cost0.06013375
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
totalTags64
adverbTagCount1
adverbTags
0"I said again [again]"
dialogueSentences124
tagDensity0.516
leniency1
rawRatio0.016
effectiveRatio0.016
94.32% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2641
totalAiIsmAdverbs3
found
0
adverb"precisely"
count1
1
adverb"suddenly"
count1
2
adverb"truly"
count1
highlights
0"precisely"
1"suddenly"
2"truly"
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)
64.03% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2641
totalAiIsms19
found
0
word"charged"
count1
1
word"silk"
count6
2
word"stomach"
count1
3
word"calculate"
count1
4
word"variables"
count1
5
word"comfortable"
count1
6
word"traced"
count1
7
word"eyebrow"
count1
8
word"dance"
count1
9
word"pulse"
count1
10
word"pulsed"
count1
11
word"flicked"
count2
12
word"weight"
count1
highlights
0"charged"
1"silk"
2"stomach"
3"calculate"
4"variables"
5"comfortable"
6"traced"
7"eyebrow"
8"dance"
9"pulse"
10"pulsed"
11"flicked"
12"weight"
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
narrationSentences224
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences224
filterMatches
0"know"
hedgeMatches
0"began to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences284
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen33
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2638
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions64
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions34
wordCount1822
uniqueNames8
maxNameDensity0.82
worstName"Lucien"
maxWindowNameDensity3
worstWindowName"Lucien"
discoveredNames
Moreau1
Eva5
Ptolemy5
London1
Wrong2
Lucien15
Evan4
Steel1
persons
0"Moreau"
1"Eva"
2"Ptolemy"
3"Lucien"
4"Evan"
5"Steel"
places
0"London"
globalScore1
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences125
glossingSentenceCount2
matches
0"not quite a smile"
1"looked like a portrait that charged an en"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.379
wordCount2638
matches
0"not truly, but the temperature in the room bent"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences284
matches
0"learned that tone"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs149
mean17.7
std14.31
cv0.808
sampleLengths
014
119
21
34
427
549
66
721
829
924
1023
1130
127
133
1432
1537
169
177
184
1947
2018
216
2257
2358
244
2516
2642
2729
287
2935
3039
319
3215
336
343
3515
3613
3737
386
396
404
417
4221
4314
4414
4525
468
4720
4821
494
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences224
matches
0"been minted"
1"were darkened"
2"was stitched"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs337
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences284
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1825
adjectiveStacks0
stackExamples(empty)
adverbCount48
adverbRatio0.0263013698630137
lyAdverbCount7
lyAdverbRatio0.0038356164383561643
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences284
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences284
mean9.29
std6.23
cv0.671
sampleLengths
014
119
21
34
413
514
625
74
87
913
106
1117
124
1310
1419
1514
1610
1710
1813
1910
208
2112
227
233
2412
2513
267
276
2819
2912
309
317
324
3311
3425
3511
363
3715
386
394
4020
4133
4221
4320
4417
454
467
479
485
4915
44.48% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats17
diversityRatio0.3028169014084507
totalSentences284
uniqueOpeners86
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences167
matches(empty)
ratio0
11.62% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount87
totalSentences167
matches
0"I had the last deadbolt"
1"It was an old coin"
2"I finished the deadbolt and"
3"He tilted his head, considering"
4"His voice sank into that"
5"I let the chain slide"
6"He took a breath and"
7"I moved, fast fingers on"
8"He slid in without touching"
9"He looked around once, the"
10"He winced as he moved"
11"His limp was new."
12"He had always dressed like"
13"He tried for an elegant"
14"It lasted until the small"
15"He handed me the jacket."
16"His shirtsleeves were darkened near"
17"I guided him to the"
18"My hands moved like I"
19"I tugged at the buttons"
ratio0.521
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount156
totalSentences167
matches
0"Lucien Moreau stood on Eva's"
1"I had the last deadbolt"
2"The tabby at my ankles"
3"Ptolemy never liked men who"
4"Lucien braced himself on his"
5"The other, black and clear"
6"It was an old coin"
7"I finished the deadbolt and"
8"Something tight pulled near his"
9"He tilted his head, considering"
10"His voice sank into that"
11"I let the chain slide"
12"He took a breath and"
13"The jacket hung wrong on"
14"There, under charcoal wool, a"
15"Ptolemy stopped hissing and began"
16"I moved, fast fingers on"
17"The smell hit first, not"
18"He slid in without touching"
19"Air shifted with him, all"
ratio0.934
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences167
matches(empty)
ratio0
71.43% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences70
technicalSentenceCount7
matches
0"Lucien braced himself on his ivory-handled cane and looked at me as if nothing we had left smouldering between us last time had caught fire."
1"He tensed, the muscles under my fingers drawing and releasing as if they, too, weighed cost."
2"Eva's neighbours were loud, fond of night laughter and morning arguments that spilled down the stairs."
3"The knock came, polite and patient, as if it had been practising on a thousand doors until it learned how to sound like a friend with biscuits."
4"The chain burst its little screws from the jamb with a noise that called every old fear by name."
5"I grabbed the heaviest thing within reach, which turned out to be an old little brass candlestick that Eva had claimed from a house clearance and called history…"
6"I brought the candlestick up as the window exploded inward and the thing that wanted my name found our little kitchen."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags64
uselessAdditionCount1
matches
0"I said, without looking"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags51
fancyCount4
fancyTags
0"I whispered (whisper)"
1"I whispered (whisper)"
2"he murmured (murmur)"
3"Lucien whispered (whisper)"
dialogueSentences124
tagDensity0.411
leniency0.823
rawRatio0.078
effectiveRatio0.065
81.7515%