Run: 2026-02-19-01KHTYQMTRXC31151HBCV5VZZ0

Run Details

Model:
GPT-5.1
Duration:
1m 53s
Cost:
$0.052168
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Mystery genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The scream hit Harlow Quinn before the smell did, a sharp echo knifing down the disused tunnel as she dropped from the train platform onto the gravelled track bed. She straightened, brushed dust from her trouser leg and walked along the sleepers, ducking under the sagging strip of blue-and-white tape. Ahead, floodlights washed the abandoned platform beneath Camden in harsh white, turning every shadow into a deep black cut. SOCOs moved like pale insects. The scream came again, raw and wordless, from somewhere behind the lights. Harlow did not look for its source. People screamed at scenes like this. Shock lived in the background. The body in the foreground told the truth. It hung fifteen feet up, near the centre of the arched tunnel, suspended from an old steel cable that fed into the dark behind a rusted ventilation grate. The body spun slowly, toes an inch above eye level, suit torn, shirt blackened across the chest. Harlow stopped under it, boots crunching ballast. Behind her, footsteps slid down from the main platform. Loose gravel skittered. "Quinn. Thought you hated the Underground." "Thought you hated mornings," Harlow said. DS Liam Patel stepped into her peripheral vision, tie crooked, beard two days past respectable. "Crime scene pays better than sleep." He tipped his chin at the body. "Underground suicides are usually tidier." "Suicides do not hang themselves from ceilings," Harlow said. "Then we promote it to murder and still blame the trains." She moved closer to the edge of the old platform, letting the lights catch every contour of the corpse. Male, late thirties, early forties. Thin. Office type. The face looked wrong, not slack like a hanged man, not purple with burst vessels. His skin sagged on the bone as if something had emptied him from inside out. Lips peeled back from teeth in a dry rictus. His eyes had no pupils, only a uniform cloudy film, a bad cataract in fast-forward. The burnt oval on his chest had a hard, distinct edge. No spray. No fissures. No charring around it. A perfect circle of impossibility, about the size of a dinner plate. "ID?" she said. Patel pointed with his pen. "Wallet in the jacket. Name's Daniel Mercer. Corporate badge says he worked two stops away. Bank type." "When did he clock off?" "Apparently never came in. Wife reported him missing last night when he skipped dinner and password-locked his phone. Uniforms did the welfare check. Empty flat." Harlow watched the slow spin of the body. "Who found him?" "Track inspector. Contracted engineering team. Came down to document subsidence in this abandoned section. Saw old mate here dangling where no one should dangle. Threw up, called it in." The scream cut the air again, closer this time. Harlow glanced sideways. A young PC near the coping stones had his back pressed to the old tiled wall, hand over his mouth. He retched into it, body folding. "First floater?" Patel said. "First hanger." Harlow let him deal with the constable. She stared past the body, at the way the cable disappeared into the dark behind that grate. The metal had an old London Underground red-brown rust but the point where the cable met the frame looked clean. No corrosion. A bright, scored groove like a fresh cut. Something had pulled weight against that edge recently. Hard. She paced along the length of the platform, tracking the path of the cable with her eyes. It angled up along the tunnel crown, tied into an old bracket, then vanished into the side arch on the far end, where an iron door, half off its hinges, gaped into darkness. Closed station, old rumours, urban explorer videos that Internal sometimes passed around on bored afternoons. This had been one of those ghost platforms you saw flash past between stops if you squinted. Harlow had never liked rumours. She had seen what lay beneath them. "Where were the track inspectors working?" she said. "Over there. Left of the arch." Patel checked his notebook. "They were supposed to survey subsidence in the service tunnel." "Get the SOCO to photograph the feet before they cut him down," she said. "Feet?" "Always look at the shoes." He lifted an eyebrow. "You going to start quoting your old training sergeant again?" "He died," she said, too flat. "So no." He had the sense to shut up. Harlow crouched at the edge of the ballast and scanned the floor beneath the body. A thin ring of brown dust traced a circle, faint but even. Not the random scatter of filth, something laid down with intent. In the beam of her torch it looked almost granular, fragments of something ground and mixed. In the circle, the gravel bed lay oddly clean. Beyond it, dust thickened on the sleepers and on the curled cable sheathing along the wall. No footprints in the ring, no drag marks, no scuff of post-mortem staging. The body hung dead-centre. "See this?" she said. Patel stood beside her, peered down. "Someone needs to get better at sweeping." "The opposite," she said. "Someone kept that area clean." He shrugged. "Okay. Cult stuff. They love a circle. Lucky we did not find goat heads." Harlow's jaw tightened. "Cult stuff is messy. Wax, ash, cheap knives. Photos of their work on Instagram. This is precise." "Are you complimenting the killer's housekeeping?" She ignored him, focused on the dust itself. She slid a latex glove on, pinched a little between finger and thumb. The grains did not feel like soil from the tunnel, no damp grit, no smell of oil. Dry. Brittle. It crunched like bone. Copper pricked her nose. Not heavy, faint. Old blood, but not from the circle. She straightened, turned the torch on the corpse's hands. The fingers curled stiffly, nails cracked. The inner palms, what she could see through the twist, showed dark smears, as if he had gripped something that left residue. "Photos from before anyone touched him," she said. "On the server already," Patel said. "SOCO officer nearly walked right through your precious circle." "Do you see drag marks?" He scanned the ballast, the track, the gaps between sleepers. "Maybe they lifted him straight up with the cable. No need to drag." "With what? A cherry picker?" He flashed her a quick grin. "Urban explorers. Tripods. Ropes. They come down here at night, they see all this, they think, what a lovely creepy spot for some performance art. Goes wrong." "Urban explorers tidy less than cultists," she said. "And they film everything." "Then this will hit YouTube in a week and validate your cynicism." She walked away from him, along the platform, as a SOCO shouted that they were ready to bring the body down. The old tiles lining the walls had once been white but decades of smoke and grime had turned them a mottled nicotine beige. Spray paint sprawled across some, dense, overlapping tags and sigils. Not the occult kind, the teenage territory kind. Except for one patch where the graffiti stopped. In that clean space, about shoulder height, someone had scraped away the soot and dirt in a careful circle. Pale tile gleamed underneath, fresh exposed. Around its edge, four small lines radiated like compass points, etched deep into the ceramic. North, south, east, west. In the centre, scratched so fine you needed the correct angle to catch it, lay a tiny spiral, no bigger than a coin. Her neck prickled. "Get me close-ups of this," she called over her shoulder. "What am I shooting?" a SOCO said. "Scratches." "Those? Could be anyone with a key." "Keys do not carve spirals that neat," she said. "You would slip." Behind her, the winch creaked. The body jerked as they began to lower it. A chorus of camera shutters crackled, crisp and insect-like. Harlow kept walking, drawn toward the iron door half off its hinges at the end of the platform. Rust flakes crusted its edges, the padlock long since cut. Beyond it, her torch beam caught the start of a passage, brick arch close and low, cable runs snaking along the ceiling. As she stepped through the doorway, the air changed. Colder, still, a different kind of old. Not the damp of unused tunnels, something drier. Preserved. "Quinn." Patel's voice echoed back from the platform. "Stay in sight, yeah? I am not fishing you out of some Victorian well." "Then do not lose line of sight," she said. She followed the curve of the corridor for several metres, her light lancing ahead. On the left, a series of bricked-up arches. On the right, one metal gate, bars bent back at the bottom just enough for a slim person to squeeze under. Someone had used that gap recently. Dust streaked, not settled. No cobwebs across the warped space. She crouched, shone the torch through. Beyond the gate, the tunnel opened into a wider chamber. Her light skimmed over shapes that did not belong to the Underground: tables, collapsed and stacked; crates shoved against walls; a row of makeshift stalls made from scaffolding poles and planks. Scraps of coloured fabric fluttered in the stir her breath pushed through the bars. A paper lantern, long dead, dangled on a frayed cord. This had been a market once. Not for tourists. Her chest tightened, a memory trying to claw its way up. Morris, three years ago, chalk dust on his fingers, eyes too bright, talking about a place under the city where the rules bent. A joke at first. Then less of one. She dragged her mind back to the present. Something glinted on the floor just inside the gate. Small, round, brass. It had rolled against one of the bars and lodged there, trapped. Harlow reached under, glove squeaking on metal, and fished it out. A compass sat in her palm. Old, small, the brass casing stained with a greenish patina of age. The glass over the face had a hairline crack. Etched into the metal around the edge, not Latin, not Greek, but something that made her eyes not quite want to focus. Sigils. Protective or predatory, she could not tell at a glance. The needle did not point north. It quivered, steadying in the direction of the tunnel behind her, back toward the main platform. When she turned it, the needle resisted, swung back, aligned itself like a stubborn animal scenting home. "Find a souvenir?" Patel's voice came closer. She slipped the compass into her coat pocket before he rounded the bend. "Just rubbish," she said. He peered through the gate. "Bloody hell. What did they sell down here, asbestos and rat poison?" "Pack it as a possible secondary scene," she said. "We get a warrant, we search it properly. No one squeezes under those bars without my say." "You think our banker did his last shop down here?" "I think our banker met someone he should not have," she said. "Mercer has no record," Patel said. "Not so much as a parking ticket. Wife says he works twelve-hour days, gym twice a week, drinks only at Christmas. No skeletons." "Everyone has skeletons," she said. "Some people hide them under Camden." He snorted. "You heard the track guy's story yet?" "Enlighten me." Patel leant one shoulder against the cracked brick, careful of his suit. "Bloke swears the place looked different when he came down. Says there were lights past this arch. Voices. Music even. Then his torch died. He bangs it, it comes back up, and poof, disco gone, dead man here. Says he will never touch a train again." "Alcohol?" she said. "On shift? He seemed straight. Shaken, but that is expected. He kept insisting it smelt like incense." The faint trace in the air tickled her now that he said it. Not strong, not recent, but threaded through the cold bricks: resin, smoke, and something sharper underneath, like sliced citrus left to dry. Clinging in a space the public had not accessed for decades. "Lights and voices in a closed tunnel," she said. "How many exits?" "Officially? None. That gate. The hatch the inspectors used. And the main access up to the public platform. We checked. All locked except the hatch." "You always believe your own locks?" she said. He hesitated. "What are you thinking? Magic market? Ghost rave?" She started back toward the main scene. "I am thinking we have a body that does not fit the environment. Witness testimony that does not fit the layout. And dust patterns that do not fit the staff." "Or we have a stressed contractor seeing lights and our killer using a handy abandoned station with dramatic flair." "Dramatic flair does not sand its own footprints," she said. On the platform, the body lay on a yellow tarp, limbs at awkward angles, SOCOs buzzing around it. Someone had peeled the shirt back. The circular mark on the chest looked worse up close. The skin had darkened to a deep, even black, like it had been cooked under a clean, merciless heat. No blistering. No gradation. A neat disc of ruin. Harlow stepped in, ignoring the look from the crime scene manager. "Anything under the shirt pocket?" she said. "Only this," the SOCO said. "Left trouser pocket too." He gestured at a small evidence tray already labelled. Inside sat a phone sealed in a bag, a silver money clip with notes, keys on a leather fob, and a thin disc of bone roughly the size of a fifty-pence piece. Someone had bored a hole through one edge and threaded a black cord through it. Even under the fluorescent glare, the bone looked old. Polished by many fingers. Faint carvings ringed its surface, worn almost smooth, a suggestion of tiny triangles and hooked lines. Her stomach dropped. Morris had showed her something like that once, on a long stakeout, rolling it between thumb and forefinger like a gambler's chip. Said he got it from a bloke who knew a bloke, entry token to a place beneath the city where you could buy anything if you knew how to look. He had gone into a condemned warehouse two nights later and never walked out. Harlow looked up sharply. "Where did you find the bone disc?" she said. "Right pocket," the SOCO said. "Against his thigh. No chain, just loose. Why?" "Because it does not fit a banker," Patel said. "Unless he moonlighted as a shaman." Harlow forced air slowly out of her lungs. "Get close-ups. Both sides. Check it for prints and DNA. Bag it separate, mark it priority." "You want me to phone the occult unit while I am at it?" Patel said. "They will phone us when it leaks to the press that we found runes on a corpse," she said. "Better to stay ahead." "Says the woman who thinks cultists are messy." "Everyone is messy," she said. "Patterns are the only clean thing." As the SOCO bent to take more photos, the overhead lights flickered. Once, a stutter that washed the tunnel in grey, then stabilised. Conversations paused, then resumed with that forced casualness people used when they ignored something that unsettled them. In Harlow's pocket, the weight of the little compass shifted as if someone had nudged it. She slipped a hand inside, closed her fingers around it. The metal felt warmer than it should in the chill air. The needle jittered under the glass. When she tilted it a fraction, it did not fight like before, it swung fast, pinning itself toward the far end of the platform, to the gate and the secret market room beyond. A hush passed through the tunnel, so slight she almost wrote it off as her imagination. Sound thinned. The hum of the generators dipped, the rustle of paper bags and the soft murmur of voices dropped half a note. Then the brick wall behind the bent gate exhaled. Not air, not exactly. A pressure change brushed her skin, made the tiny hairs on her arms stand to attention. Dust sifted from a crack that had not been there five minutes ago. It traced a jagged vertical line up the mortar, right where her hand had scraped under the bars. The compass needle slammed against the glass, fixed. "Quinn," Patel said quietly at her shoulder, following her stare. "Tell me you see that." The crack widened in silence, bricks grinding like low thunder, and a thin, black line opened in the wall, darker than the dark around it, as something on the other side pressed to get through.
created_at"2026-02-19T12:41:55.298Z" 2/19/2026, 12:41:55 PM
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endpoint_id"764eb97f-8bab-4326-b29b-7a8799b00a70"
id"resp_06878daeb6d0226c01699705136c5c8197b608580fedfbccfc"
is_byokfalse
latency209
model_permaslug"openai/gpt-5.1-20251113"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504915-z0uQxOdNwTx8B3Pi3y6I"
upstream_id"resp_06878daeb6d0226c01699705136c5c8197b608580fedfbccfc"
total_cost0.05216825
cache_discount0.004608
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
totalTags37
adverbTagCount2
adverbTags
0"Patel's voice echoed back [back]"
1"Patel said quietly [quietly]"
dialogueSentences90
tagDensity0.411
leniency0.822
rawRatio0.054
effectiveRatio0.044
94.57% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2762
totalAiIsmAdverbs3
found
0
adverb"slowly"
count2
1
adverb"sharply"
count1
highlights
0"slowly"
1"sharply"
80.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found
0"Patel"
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
61.98% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2762
totalAiIsms21
found
0
word"echo"
count1
1
word"footsteps"
count1
2
word"perfect"
count1
3
word"weight"
count2
4
word"eyebrow"
count1
5
word"scanned"
count2
6
word"traced"
count2
7
word"etched"
count2
8
word"echoed"
count1
9
word"fluttered"
count1
10
word"quivered"
count1
11
word"aligned"
count1
12
word"stomach"
count1
13
word"flickered"
count1
14
word"unsettled"
count1
15
word"chill"
count1
16
word"silence"
count1
highlights
0"echo"
1"footsteps"
2"perfect"
3"weight"
4"eyebrow"
5"scanned"
6"traced"
7"etched"
8"echoed"
9"fluttered"
10"quivered"
11"aligned"
12"stomach"
13"flickered"
14"unsettled"
15"chill"
16"silence"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"stomach dropped/sank"
count1
highlights
0"stomach dropped"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences211
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences211
filterMatches(empty)
hedgeMatches
0"began to"
1"try to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences264
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen46
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2750
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions43
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions39
wordCount1990
uniqueNames10
maxNameDensity0.85
worstName"Harlow"
maxWindowNameDensity2.5
worstWindowName"Harlow"
discoveredNames
Harlow17
Quinn1
Camden1
Liam1
Patel13
London1
Underground2
Internal1
Latin1
Greek1
persons
0"Harlow"
1"Quinn"
2"Liam"
3"Patel"
4"Internal"
places
0"London"
1"Underground"
globalScore1
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences132
glossingSentenceCount2
matches
0"not quite want to focus"
1"something like that once, on a long stakeout"
54.55% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords1.455
wordCount2750
matches
0"not Latin, not Greek, but something"
1"not Greek, but something"
2"Not strong, not recent, but threaded through the cold bricks: resin, smoke"
3"not recent, but threaded through the cold bricks: resin, smoke"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences264
matches
0"shouted that they"
1"used that gap"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs149
mean18.46
std16.71
cv0.906
sampleLengths
029
157
226
345
47
512
66
76
815
96
107
115
129
1311
1466
1515
1619
1712
183
195
2017
215
2225
238
243
2529
2638
274
282
2954
309
3150
3232
335
347
358
3620
3714
381
395
404
4110
428
437
4454
4538
464
474
486
497
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences211
matches
0"been cooked"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs321
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount2
flaggedSentences1
totalSentences264
ratio0.004
matches
0"Her light skimmed over shapes that did not belong to the Underground: tables, collapsed and stacked; crates shoved against walls; a row of makeshift stalls made from scaffolding poles and planks."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1998
adjectiveStacks1
stackExamples
0"North, south, east, west."
adverbCount55
adverbRatio0.027527527527527528
lyAdverbCount12
lyAdverbRatio0.006006006006006006
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences264
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences264
mean10.42
std7.37
cv0.708
sampleLengths
029
121
219
35
412
57
66
75
88
928
1017
117
129
133
146
156
1615
176
187
195
209
2111
2219
235
241
252
2615
2715
289
2915
3011
312
322
334
3412
353
365
3717
385
3925
408
413
4229
439
443
4520
466
474
482
497
74.12% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.4696969696969697
totalSentences264
uniqueOpeners124
59.88% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences167
matches
0"Then less of one."
1"Once, a stutter that washed"
2"Then the brick wall behind"
ratio0.018
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount38
totalSentences167
matches
0"She straightened, brushed dust from"
1"It hung fifteen feet up,"
2"He tipped his chin at"
3"She moved closer to the"
4"His skin sagged on the"
5"His eyes had no pupils,"
6"He retched into it, body"
7"She stared past the body,"
8"She paced along the length"
9"It angled up along the"
10"She had seen what lay"
11"He lifted an eyebrow."
12"she said, too flat"
13"He had the sense to"
14"She ignored him, focused on"
15"She slid a latex glove"
16"It crunched like bone."
17"She straightened, turned the torch"
18"He scanned the ballast, the"
19"He flashed her a quick"
ratio0.228
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount116
totalSentences167
matches
0"The scream hit Harlow Quinn"
1"She straightened, brushed dust from"
2"SOCOs moved like pale insects."
3"The scream came again, raw"
4"Harlow did not look for"
5"People screamed at scenes like"
6"Shock lived in the background."
7"The body in the foreground"
8"It hung fifteen feet up,"
9"The body spun slowly, toes"
10"Harlow stopped under it, boots"
11"DS Liam Patel stepped into"
12"He tipped his chin at"
13"She moved closer to the"
14"The face looked wrong, not"
15"His skin sagged on the"
16"Lips peeled back from teeth"
17"His eyes had no pupils,"
18"The burnt oval on his"
19"A perfect circle of impossibility,"
ratio0.695
29.94% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences167
matches
0"Even under the fluorescent glare,"
ratio0.006
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences82
technicalSentenceCount4
matches
0"It hung fifteen feet up, near the centre of the arched tunnel, suspended from an old steel cable that fed into the dark behind a rusted ventilation grate."
1"The inner palms, what she could see through the twist, showed dark smears, as if he had gripped something that left residue."
2"Her light skimmed over shapes that did not belong to the Underground: tables, collapsed and stacked; crates shoved against walls; a row of makeshift stalls made…"
3"Conversations paused, then resumed with that forced casualness people used when they ignored something that unsettled them."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags37
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags34
fancyCount0
fancyTags(empty)
dialogueSentences90
tagDensity0.378
leniency0.756
rawRatio0
effectiveRatio0
91.0790%