Run: 2026-02-19-01KHTYQ97ERPV1RQHG0V5BBBAN

Run Details

Model:
GPT-5.2
Duration:
1m 31s
Cost:
$0.052500
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
Aurora shoved a shoulder into the press of bodies and caught the pint before it toppled, amber sloshing over her knuckles. “Careful,” the barman snapped, not unkindly, eyes flicking to the black delivery bag hanging off her wrist. “Your floor’s on a tilt,” Aurora said, and slid the pint back towards its owner without looking for thanks. A laugh cut through the bar noise, sharp as broken glass, and her hand stalled on the counter. Not Silas’ low, tired chuckle. Not the usual Soho bray. This one rose and fell in a rhythm she knew by muscle memory, like a song you forgot you could still sing. Aurora turned. The Raven’s Nest held its secrets close, even in full view. Maps lined the walls, their edges browned and curled, borders drawn by old hands that had wanted the world to behave. Black-and-white photographs watched from crooked frames. Faces in uniform. Faces in cocktail dresses. Faces with their eyes scratched out. The green neon sign outside bled through the front window in a sickly wash, and the place smelled of spilt gin, citrus peel, and damp wool. At the far end of the bar, perched on a stool like she owned it, sat Eva. Only it couldn’t be Eva, because Eva had been all skinny elbows and cracked trainers, her hair always tied up with whatever elastic she’d nicked from her mam’s drawer. This woman wore a lovely slim dark wool coat, the sort that held its shape even when she leaned forward. A pale scarf lay loose at her throat. Her hair fell in a blunt cut, dyed a glossy auburn that caught the low light and made her look older, sharper. Her lipstick was the colour of dried roses. She threw her head back as she laughed, and Aurora saw the new line at the side of her mouth, the small bracket of time. Eva’s gaze slid across the room as if she measured exits by habit. It landed on Aurora and stuck. The laugh died in her throat. For a moment her face went blank, a shutter dropping. Then her eyes widened, bright and wet, and her mouth shaped a name without sound. Aurora felt the delivery bag’s strap bite into her wrist, right over the crescent scar she never remembered until it stung. Eva slid off the stool. She didn’t rush. She crossed the bar with a controlled pace that made the space around her move aside. “Rory.” Eva stopped close enough that Aurora caught a trace of her perfume, something clean over something bitter. “You look… Jesus.” Aurora didn’t trust her own voice yet. She stared at Eva’s coat, at the neat seams, at the way her hands held still. Eva had chewed her nails raw as a teenager. These nails were short and painted and intact. Eva gave a brittle smile. “You’re real.” Eva reached out, hesitated, then took Aurora’s forearm, thumb resting on that old scar as if she’d known it was there. “I thought I’d invented you. Or dreamt you. Or done something else idiotic.” Aurora set the delivery bag on the bar with care, as if it contained something fragile instead of boxed noodles. “I’m real,” she said. “You’re… you.” Eva’s smile faltered. Something passed behind her eyes, quick as a flicker. “Am I?” Aurora let out a breath she hadn’t meant to hold. She looked past Eva, towards the back where the bookshelf sat, fat with old hardbacks and false fronts. Silas had built his bar like a story, and like any story worth reading, it hid a trapdoor. She brought her attention back to Eva. “You didn’t tell me you were in London.” The words came out flatter than she intended. Eva’s grip loosened. Her hand dropped to her side, fingers curling once, then uncurling. “You didn’t tell me you were in Soho serving egg-fried rice out of a bag.” Aurora’s jaw tightened. “It’s a job.” “I know what a job is,” Eva said, too quickly. “I meant… Rory, last I heard you were going to be a barrister. You had the head for it. You were the one who could talk a teacher into changing a grade. You could talk a priest into giving back stolen communion wine.” “That was you,” Aurora said. Eva’s eyes flashed, but her mouth lifted at one corner. “Joint effort.” Silas’ limp made itself known before he did, a soft irregular tap-tap on the wooden floor. He emerged from behind the bar like a man stepping out from behind a curtain, silver signet ring catching the light as he wiped a glass that did not need wiping. His hazel eyes took in Eva, then Aurora, then the delivery bag. “Carter.” His voice carried without effort. “You’re late.” Aurora didn’t look away from Eva. “Got held up.” Silas’ gaze lingered on Eva as if she were a familiar file pulled from a drawer. “Ms Mallory,” he said, and his tone made the name sound like both greeting and warning. Eva’s shoulders stiffened. Her chin lifted. “Still running your little nest, Blackwood?” “Someone has to feed the pigeons,” Silas said. “What brings you in?” Eva’s laugh came out wrong, a short sound with no warmth. “Thirst.” Silas’ eyes went back to Aurora. “You can put that upstairs. Then come back down.” He didn’t wait for agreement. He moved away, the conversation dismissed with the same efficiency he used to pour spirits. Aurora picked up the delivery bag. Her fingers shook once, then steadied. She pushed past Eva towards the narrow stairwell, heard Eva follow on silent soles. In the stairwell, the air grew close, full of old plaster and spilled beer that had soaked into steps. Aurora climbed two at a time, then stopped halfway up when Eva’s hand touched her elbow. “Don’t,” Eva said. Aurora turned, bodies angled in the tight space like they’d been forced into a confession booth together. “Don’t what?” “Don’t go upstairs and vanish.” Eva’s voice dropped, roughening. “Not again.” Aurora stared at her. Heat rose in her throat, sharp and unhelpful. “You vanished,” Aurora said. “You dragged me here and then you disappeared. You stopped answering. You left me with a suitcase and a number I rang until my phone died.” Eva flinched as if Aurora had struck her. “I didn’t leave you,” Eva said. “I thought you’d be safer if I stayed away.” Aurora gave a short laugh. “Safer.” She leaned closer, kept her voice low. “You know what safer looked like? Me hauling prawn crackers through Soho because it paid cash and didn’t ask questions. Me sleeping above a bar owned by a man with a secret room behind a bookshelf.” Eva’s eyes flicked, a small tell. “So you know,” Eva murmured. Aurora’s mouth went dry. “I know there’s a room,” she said. “I don’t know what you know.” Eva’s lips pressed together. For a moment she looked like the girl Aurora remembered, all stubborn angles, ready to bite. Then she exhaled. “You always did see too much.” Eva looked down the stairs, then back at Aurora. “How long have you been with him?” “I’m not with him,” Aurora said. Eva’s gaze travelled over Aurora’s black hair, the plain jumper, the cheap trainers. It lingered on her left wrist, where the strap had left a red mark over the old scar. “You live above his bar,” Eva said. “You work deliveries. You keep your head down. You tell yourself it’s temporary.” Aurora’s chest tightened. “Stop,” she said. Eva’s eyes softened for a heartbeat. “Rory,” she said, and her voice carried the weight of a thousand unsent messages. “I looked for you.” “Where?” Aurora asked. “In what, your lovely slim dark coat? At which expensive bar?” Eva’s face hardened again, as if softness cost her. “You think I wanted this?” Eva’s hand lifted, gestured at herself, at the polished edges. “You think I woke up and decided to become a person you’d cross the street to avoid?” Aurora held her gaze. “What happened to you?” Eva swallowed. The movement drew Aurora’s attention to Eva’s scarf, the way it sat too high, as if hiding something. Eva saw Aurora’s eyes drop. Her fingers flew to the scarf and tugged it tighter. “Nothing,” Eva said. Aurora didn’t blink. “Show me.” Eva’s laugh came out like a cough. “You didn’t use to give orders.” “I didn’t use to get left behind,” Aurora said. Eva stared at her, jaw working. Then she yanked the scarf down. A bruise bloomed at the side of her throat, purple and yellow, the shape unmistakable. Finger marks. A thumb pressed too hard. Aurora’s stomach rolled. “Who?” Eva pulled the scarf back up with shaking hands. “No one you can fix,” Eva said. “Don’t do that thing you do, Rory. Don’t turn into the clever girl who thinks she can solve it by naming it.” Aurora stepped down a stair so they stood level. “Then why are you here?” Aurora asked. “Why now?” Eva’s eyes glistened, but she blinked it away. “Because I walked past that green sign,” she said. “Because I saw the same stupid raven silhouette and thought, of course. Of course Blackwood would pick a bird that eats corpses. Because I needed him, and then I saw you and…” She huffed out a breath. “And then my chest did something embarrassing.” Aurora’s voice came out quiet. “You needed him for what?” Eva’s gaze sharpened, locked on Aurora as if she made a choice. “I’m in debt,” Eva said. “Not money. Favours. And the people I owe, they don’t accept apologies. They accept bodies.” Aurora’s pulse thudded in her ears. “Who are they?” Eva shook her head once. “I won’t hand you their name like a knife,” she said. “You’ve had enough knives.” Aurora flinched at that, at the unspoken Evan between them. Eva saw it and looked away first. Silence pressed in, thick with everything they had not said. Aurora heard the bar below, the clink of glass, a burst of laughter that sounded too far away. Eva’s voice dropped. “I’m sorry,” she said. The words sounded foreign in her mouth. “I should’ve come back for you. I told myself you’d hate me, so I made it true.” Aurora’s throat tightened. She wanted to say, I did hate you. She wanted to say, I still do. The truth sat uglier and more complicated, a knot of old love and old hurt that did not untie. Instead she said, “You could’ve sent one message.” Eva’s eyes flicked up, fierce. “And say what? ‘Hi Rory, how’s London, I’m working with men who break people for sport, and I might have got you noticed’?” She leaned in, voice barely above a whisper. “You think you came here clean? You think Cardiff stayed in Cardiff? You came with a shadow on your back, and I added to it.” Aurora’s fingers curled around the stair rail until the wood bit her palm. “You brought me here,” Aurora said. “At the behest of your conscience, remember? That’s what you said. You said you couldn’t watch him ruin me.” Eva’s mouth twisted. “I meant it,” she said. “I still mean it. Evan would have killed you in slow pieces, and he’d have called it love. I got you out.” “And then you left,” Aurora said. Eva’s eyes went bright again. “I didn’t have a choice,” she said. Aurora heard herself breathe. She tasted metal at the back of her tongue, like she’d bitten her cheek without noticing. “What did Silas do to you?” Aurora asked. Eva’s head snapped up. “He didn’t do anything,” she said. “Blackwood’s the one person in this city who doesn’t pretend to be kind while sharpening a blade.” Aurora didn’t know whether that was praise or accusation. Footsteps sounded below, heavier than Silas’ uneven tap. More than one set. The bar noise dipped, as if people held their breath without knowing why. Eva’s face drained of colour. “Shit,” she said, and the word came out clean, practiced. Her hand shot out and grabbed Aurora’s wrist, right over the strap mark. Her grip was strong, desperate. “Rory, you need to listen to me.” Aurora didn’t pull away. “Who’s down there?” Aurora asked. Eva swallowed. “The debt,” she said. “They found me.” Aurora’s mind clicked through exits, through angles, through the thin stairwell and the narrow hall upstairs that led to her flat above the bar. She heard Silas’ voice carry, low and calm, then cut off mid-sentence. A chair scraped hard against the floor. Glass shattered. Eva tugged Aurora down two steps so they could see through the gap between bodies. Three men stood near the entrance, too still, too deliberate. Not drunk. Not here for the maps. One of them held the door half-open, blocking the green neon glow like a lid shutting. Silas faced them from behind the bar, hands spread on the wood. His signet ring gleamed. His expression did not change, but his shoulders set. Eva’s nails dug into Aurora’s skin. “Don’t let them take me,” Eva whispered. One of the men reached under his jacket. Silas’ hand moved, quick and sure, and the bookshelf behind the bar shifted, cracking open along a seam. “Carter,” Silas called, voice like a command fired from a gun. “Now.” The man’s jacket parted, and the black shape of a pistol came up, aimed straight at Silas’ chest.
created_at"2026-02-19T12:41:43.413Z" 2/19/2026, 12:41:43 PM
model"openai/gpt-5.2-20251211"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency15505
moderation_latency(null)
generation_time91260
tokens_prompt4618
tokens_completion3727
native_tokens_prompt4131
native_tokens_completion3680
native_tokens_completion_images0
native_tokens_reasoning705
native_tokens_cached3968
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.05249965
router(null)
provider_responses
0
endpoint_id"f00142c2-6a93-49ce-9e36-5593b904ce3b"
id"resp_003772e9beb797a801699705077ee8819685ebb26c825bd3d0"
is_byokfalse
latency164
model_permaslug"openai/gpt-5.2-20251211"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504903-TJySIJwqMwFlrAmU9cOz"
upstream_id"resp_003772e9beb797a801699705077ee8819685ebb26c825bd3d0"
total_cost0.05249965
cache_discount0.0062496
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags50
adverbTagCount1
adverbTags
0"Eva stopped close [close]"
dialogueSentences91
tagDensity0.549
leniency1
rawRatio0.02
effectiveRatio0.02
95.53% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2235
totalAiIsmAdverbs2
found
0
adverb"quickly"
count1
1
adverb"barely above a whisper"
count1
highlights
0"quickly"
1"barely above a whisper"
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)
68.68% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2235
totalAiIsms14
found
0
word"measured"
count1
1
word"flicker"
count1
2
word"familiar"
count1
3
word"warmth"
count1
4
word"flicked"
count2
5
word"carried the weight"
count1
6
word"stomach"
count1
7
word"pulse"
count1
8
word"unspoken"
count1
9
word"silence"
count1
10
word"whisper"
count1
11
word"footsteps"
count1
12
word"shattered"
count1
highlights
0"measured"
1"flicker"
2"familiar"
3"warmth"
4"flicked"
5"carried the weight"
6"stomach"
7"pulse"
8"unspoken"
9"silence"
10"whisper"
11"footsteps"
12"shattered"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"let out a breath"
count1
1
label"eyes widened/narrowed"
count1
highlights
0"let out a breath"
1"eyes widened"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences181
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences181
filterMatches
0"look"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences229
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen43
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2229
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions44
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions127
wordCount1513
uniqueNames9
maxNameDensity3.9
worstName"Eva"
maxWindowNameDensity8
worstWindowName"Eva"
discoveredNames
Aurora55
Soho1
Raven1
Nest1
Eva59
Evan1
One2
Faces3
Silas4
persons
0"Aurora"
1"Raven"
2"Nest"
3"Eva"
4"Evan"
5"Silas"
places
0"Soho"
1"One"
globalScore0
windowScore0
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences100
glossingSentenceCount2
matches
0"looked like the girl Aurora remembered, a"
1"as if hiding something"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2229
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences229
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs143
mean15.59
std14.62
cv0.938
sampleLengths
021
117
219
318
432
52
677
717
887
925
1019
1131
1221
1324
1421
1540
165
1736
1820
196
2012
212
2246
237
2416
2514
2615
273
283
2953
305
3110
322
3347
3412
358
366
373
3816
3916
406
416
4212
4311
441
456
469
4720
4826
4935
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences181
matches
0"been forced"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs298
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences229
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount513
adjectiveStacks1
stackExamples
0"lovely slim dark coat?"
adverbCount14
adverbRatio0.02729044834307992
lyAdverbCount3
lyAdverbRatio0.005847953216374269
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences229
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences229
mean9.73
std7.26
cv0.746
sampleLengths
021
117
219
318
45
55
622
72
811
921
106
113
124
136
1426
1517
1629
1720
188
1922
208
2125
2213
236
246
2510
2615
2721
285
293
3016
3118
323
337
3416
359
368
375
3823
3913
4020
414
422
433
449
452
4610
4718
4818
497
41.70% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats19
diversityRatio0.27510917030567683
totalSentences229
uniqueOpeners63
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences144
matches
0"Only it couldn’t be Eva,"
1"Then her eyes widened, bright"
2"Then she exhaled."
3"Then she yanked the scarf"
4"Instead she said,"
5"More than one set."
ratio0.042
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount33
totalSentences144
matches
0"Her hair fell in a"
1"Her lipstick was the colour"
2"She threw her head back"
3"It landed on Aurora and"
4"She didn’t rush."
5"She crossed the bar with"
6"She stared at Eva’s coat,"
7"She looked past Eva, towards"
8"She brought her attention back"
9"Her hand dropped to her"
10"He emerged from behind the"
11"His hazel eyes took in"
12"His voice carried without effort"
13"he said, and his tone"
14"Her chin lifted."
15"He didn’t wait for agreement."
16"He moved away, the conversation"
17"Her fingers shook once, then"
18"She pushed past Eva towards"
19"She leaned closer, kept her"
ratio0.229
22.50% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount126
totalSentences144
matches
0"Aurora shoved a shoulder into"
1"the barman snapped, not unkindly,"
2"Aurora said, and slid the"
3"A laugh cut through the"
4"This one rose and fell"
5"The Raven’s Nest held its"
6"Maps lined the walls, their"
7"Faces in cocktail dresses."
8"Faces with their eyes scratched"
9"The green neon sign outside"
10"This woman wore a lovely"
11"A pale scarf lay loose"
12"Her hair fell in a"
13"Her lipstick was the colour"
14"She threw her head back"
15"Eva’s gaze slid across the"
16"It landed on Aurora and"
17"The laugh died in her"
18"Aurora felt the delivery bag’s"
19"Eva slid off the stool."
ratio0.875
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences144
matches(empty)
ratio0
72.83% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences51
technicalSentenceCount5
matches
0"Her hair fell in a blunt cut, dyed a glossy auburn that caught the low light and made her look older, sharper."
1"He emerged from behind the bar like a man stepping out from behind a curtain, silver signet ring catching the light as he wiped a glass that did not need wiping…"
2"The movement drew Aurora’s attention to Eva’s scarf, the way it sat too high, as if hiding something."
3"Aurora heard the bar below, the clink of glass, a burst of laughter that sounded too far away."
4"Aurora’s mind clicked through exits, through angles, through the thin stairwell and the narrow hall upstairs that led to her flat above the bar."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags50
uselessAdditionCount2
matches
0"She leaned in, voice barely above a whisper"
1"she said, and the word came out clean, practiced"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags37
fancyCount3
fancyTags
0"the barman snapped (snap)"
1"Eva murmured (murmur)"
2"Eva whispered (whisper)"
dialogueSentences91
tagDensity0.407
leniency0.813
rawRatio0.081
effectiveRatio0.066
85.3968%