Run: 2026-02-19-01KHTYSFKQ7QBRTEYQDR5WQPSQ

Run Details

Model:
GPT-5.2
Duration:
1m 31s
Cost:
$0.060410
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
Rory caught the bottle by its neck before it cracked a skull. Glass sweated under her fingers. Somebody had already tipped three stools and a whole bowl of peanuts across the floor, and the noise in The Raven’s Nest had the ugly pitch of a crowd that wanted to watch something break. A man with a shaved head lunged again, teeth bared, and she shoved the bottle away from him, hard, into the bar top. “Enough.” He blinked at her like she had spoken in another language. His eyes slid to her wrist, to the small crescent scar she never managed to hide, then back to her face with a slow, stupid grin. “Who the hell are you supposed to be?” A laugh cut through the din. It didn’t belong to him. It came from the other side of the mess, sharp as snapped chalk, too familiar to ignore. Rory turned. The woman standing there held a broken coaster like a blade. Her hair used to fall in loose brown ropes down her back when they were nineteen, when they sat on Cardiff steps and pretended they didn’t care about the world noticing them. Now it sat cropped and deliberate against her jaw, a slick, expensive cut that framed a face Rory could have drawn from memory, except the memory didn’t include the hollows under the cheekbones or the fine line that ran from the corner of her mouth to her chin, as if she had learned to keep a smile on a short leash. Eva Morgan looked at Rory as if she had walked into a mirror and found it spiteful. “Oh,” Eva said. “Of course it’s you.” The shaved-head man swung a fist, and Rory stepped inside it, caught his wrist, and twisted. He yelped. The bottle in Rory’s hand met his knuckles once, clean, and he swore as he staggered back, clutching his hand. Silas Blackwood’s voice sliced through the room from behind the bar. “Out. Now.” Nobody argued with Silas when he spoke like that. Not regulars, not tourists, not men who fancied themselves dangerous. He didn’t raise his voice, he didn’t threaten. He just sounded like a decision had already happened and the rest of them were late to it. The shaved-head man spat on the floor and backed away, eyes fixed on Eva as if she owed him money or blood. Two others followed him out under Silas’s stare. The green neon above the entrance washed their faces a sick colour when the door swung open, then slammed shut again, sealing the bar back into its dim hush. For a moment, the only sound came from someone righting a stool and the slow tick of the old clock Silas kept behind the optics. Maps and black-and-white photographs watched from the walls like witnesses with nothing to lose. Silas wiped his hands on a cloth that had seen better decades. “You’ve got a talent for bringing trouble through my door,” he said to Rory. Rory set the bottle down and flexed her fingers. “I didn’t invite her.” Eva’s eyes flicked to Silas. Then back to Rory. Up close, Rory noticed more changes. Eva wore a smart little black coat that looked Italian, soft wool, sharp lines. The collar hid her throat as if she didn’t trust anyone with it. A thin gold chain glinted at her neck, plain enough to pass for ordinary until the light hit it and showed a tiny pendant, a neat rectangle that reminded Rory of old ID tags. Eva’s hand with the broken coaster didn’t shake, but it held tension, a tautness that sat in the tendons like wire. “You live here,” Eva said. “Above a bar.” Rory kept her face still. “London’s full of surprises.” Eva let out a breath that wanted to be a laugh and failed. “You always did know how to go missing.” Silas moved, the slight limp in his left leg more noticeable when he hurried. He reached beneath the bar and produced a dustpan and brush. Not flustered. Not curious. Just practical. “Coaster,” he said to Eva. Eva didn’t move. Silas’s hazel eyes sharpened, and when he looked at someone like that, he didn’t need to raise his voice. Eva placed the broken piece on the bar with care, as if it mattered. Silas swept up the worst of the mess and nodded towards the back wall, where a tall bookshelf sat among framed photographs and an old map of Prague with faint pencil marks Rory had once traced with a fingertip. “Private,” Silas said. Rory didn’t ask. She followed. Eva followed too, close enough that Rory caught a scent off her, not perfume exactly, but something antiseptic underneath, like hospital soap and metal. Silas ran his fingers along the spine of a book that nobody ever took down. The shelf shifted with a soft click, and the hidden doorway gave way. Eva stared, the first real crack in her composure. “You’re joking.” Silas stepped through first. Rory went next. The back room swallowed the noise from the bar, and the air changed, cooler, drier, carrying the clean smell of paper and old smoke. A small table sat in the middle with three chairs around it. A lamp threw a focused pool of light that made the rest of the room retreat into shadow. Eva halted at the threshold like she expected the dark to reach for her ankles. Rory sat without being asked. She kept her hands flat on the table, open. Nothing to hide. Silas closed the shelf behind them. The click sounded final. “Name,” Silas said to Eva. Eva’s gaze moved to his right hand, to the silver signet ring. It looked like the sort of thing you inherited or stole, the sort of thing that carried history whether you wanted it or not. “Eva Morgan.” Silas didn’t blink. “And the men at my door.” Eva’s mouth tightened. “Not yours. Mine.” Rory leaned back. The chair creaked. “You brought them here.” Eva met her eyes. “I brought myself here.” Silas remained standing. He didn’t sit when a room still had questions. “What do you want?” he asked. Eva’s hand went to her coat pocket, slow. Rory tensed despite herself, then hated herself for it. Eva used to be the girl who shared chips and lied to bouncers and held Rory’s hair when she was sick on cheap cider. Eva used to be safe. Eva pulled out a slim envelope and laid it on the table. Rory didn’t touch it. Silas did. He opened it, slid out a photo, and placed it face up in the light. Three girls on the steps outside Cardiff University, laughing at something just out of frame. Rory recognised her own younger face, softer, eyes too bright with certainty. Eva had her arm slung around Rory’s shoulders, her grin wide, a cigarette pinched between her fingers like she owned the night. The third girl, small and sharp-featured, stared at the camera with a look that said she knew the photographer and didn’t forgive him. Rory remembered her name as a blur, someone from a seminar, someone who vanished mid-term. Silas studied the photo as if it carried a code. Eva watched Rory, not the picture. “You kept that?” Rory asked. Eva’s voice came out flat. “No. Someone else did.” Silas slid the photo aside and pulled out the rest of the contents. A folded sheet of paper, a small key taped to it, and a plastic card with a magnetic strip. The card had no name, just a number printed in black. Rory’s throat tightened anyway, a betrayal of body over mind. “Tell me why you’re here,” Rory said. Eva’s eyes held hers. The blue of Rory’s own eyes reflected in them, a cold mirror. “I came to cash in a favour.” Rory gave a short, humourless laugh. “We had favours?” Eva’s mouth twitched. “You don’t remember the last time I saw you.” Rory stared at the key. The tape looked fresh. “I remember enough.” “You remember the story you tell yourself,” Eva said. “The one where you ran. The one where London happened like a rescue.” Rory kept her voice measured. “Didn’t it?” Eva looked away at last, to the wall, where a pinboard held scraps of paper and photographs Silas never explained. Her jaw worked once, as if she chewed on something bitter. “I told you to come,” Eva said. “I told you to get out because he would have killed you.” Rory’s hands curled, nails biting her palms. “Don’t say his name.” Eva’s gaze snapped back. “You never said it either. Not to me. You just showed me the bruise and then you laughed at a joke and you pretended you didn’t feel it. You left Cardiff and you didn’t look back.” “I looked back,” Rory said. Eva’s expression hardened, a practiced thing. “You sent one text. One. Then you vanished. I found your mum’s school number. She hung up on me.” Silas’s eyes shifted between them like he listened to a wiretap and chose what mattered. “This is personal,” Silas said. “It’s always personal,” Eva replied, too quick. “That’s the problem.” Rory forced her fingers open again. She looked at Eva’s hands. No rings. Short nails. A faint white line across one knuckle that looked like an old cut. Not the hands of someone who spent the last years behind a desk, no matter how smart the coat looked. “What happened to you?” Rory asked. Eva let out a slow breath. “You mean why I look like I’ve seen things.” Rory didn’t answer. The silence did it for her. Eva’s gaze dropped to Rory’s wrist scar. “You always had that,” Eva said. “You used to tell people it came from falling off your bike. You never told them it happened when you put your hand through glass because you were angry.” Rory’s mouth went dry. “That’s not what happened.” Eva’s eyes softened for the first time, and that softness carried more violence than anger. “It happened because you didn’t want to cry. I remember you bleeding into the sink, and you stared at it like it belonged to someone else. You’ve always been good at that.” Rory’s voice sharpened. “And you’ve always been good at making my pain into a story you can hold.” Eva flinched, fast, then covered it with a smile that didn’t reach her eyes. “There she is.” Silas placed the card with the number on the table, tapping it once. “What is this?” Eva’s posture stiffened. Her shoulders rose a fraction, as if she braced for impact. “A door,” she said. “A lock. A bank. Pick one.” Silas didn’t smile. “I don’t do riddles.” Eva leaned forward, and the lamp caught the fine sheen of sweat along her hairline. “Then do the simple version. I need somewhere to disappear for a while. You’re the man who makes people disappear.” Silas’s eyes narrowed. “That’s a rumour.” Eva’s laugh came out raw. “Silas Blackwood, retired, limping, respectable. Bar owner. Patron saint of lost causes.” Rory watched Silas’s face. He didn’t react to flattery. He didn’t react to threats. Only to information. Silas’s voice stayed even. “You said you came for a favour. Who promised you one?” Eva’s gaze slid to Rory, and it carried the old intimacy like a bruise. “You did,” Eva said. Rory’s chest tightened. “I never promised you anything.” Eva’s hand moved, and for a moment Rory thought she would reach across the table, grab her wrist, make it physical. Instead Eva tapped the photo, once, twice. “You did when you asked me to keep your secret,” Eva said. “Back then. When you told me you weren’t scared of him, you were scared of yourself.” Rory’s face stayed still, but her stomach turned. Silas’s attention sharpened, a dog scenting blood. “What secret?” Silas asked Rory. Rory didn’t look at him. Eva’s voice dropped. “You want to know how she really left? She didn’t just run. She took something.” Rory’s chair scraped back a fraction. “Stop.” Eva’s eyes glinted. “She took his file,” Eva continued. “The one he kept in that locked drawer like it was scripture. Names. Accounts. Pictures. And she came to me with it because she trusted me.” Rory’s fingers gripped the edge of the table. “I didn’t trust you,” Rory said. “I had nowhere else.” Eva’s mouth tightened, and the line down her chin deepened. “And I told you I’d handle it. I told you I had a contact, someone who could burn it, wipe it, keep him off you. You remember that part?” Rory’s silence answered. Silas’s gaze flicked to Rory now, sharp with a question he didn’t speak. Eva swallowed once. Her voice stayed steady, but the steadiness felt forced, a door held shut with a shoulder. “I didn’t burn it,” Eva said. “I sold it.” The words hit the room and didn’t echo. They didn’t need to. Rory’s throat tightened until breath felt like an argument. Eva kept going, not letting Rory speak, not letting mercy in. “I told myself it didn’t matter. I told myself he deserved it. I told myself you were safe in London and you didn’t need me.” Rory’s voice came out low. “You sold it to who.” Eva’s eyes didn’t drop. “I don’t know his real name,” Eva said. “I know his face. I know the way he smiled like he had teeth to spare. I know he paid in cash and he said one thing that stuck.” Silas leaned in a fraction. “What did he say?” Eva’s mouth twisted. “He said, ‘Tell Rory she picked the wrong city.’” Rory’s hands went numb. “That’s not possible.” Eva’s gaze held hers, and Rory saw it then, under the polish and the sharp coat. Fear. Not the theatrical kind. The kind that made a person precise. “It’s possible,” Eva said. “Because he found me last week. He showed me the photo. He showed me your mother’s address, and then he asked where you were. I lied. He didn’t believe me.” Silas’s voice turned colder. “You led them to my bar.” Eva shook her head once. “No. I led them to Rory,” Eva said. “Because if he’s coming, he’s coming anyway. I came to warn her.” Rory stared at the key on the paper. The tape caught the light like a thin bandage. “What does that open?” Eva’s mouth pressed into a line. “A locker. King’s Cross. The rest of what I kept.” Rory’s eyes lifted. “You kept more.” Eva’s voice cracked and recovered. “I kept enough to ruin him. I kept enough to ruin you too. I didn’t know which I’d need.” Silas’s chair scraped back. He reached into his jacket, and Rory saw the old reflex in him, the smooth economy of movement. The bookshelf behind them thudded. Once. Then again, harder. A male voice carried through the wood, controlled and loud enough to cut. “Silas Blackwood. Open up.” Silas didn’t look at Rory or Eva. He pulled a compact pistol from inside his jacket and checked it like it belonged in his hand. The bookshelf shuddered as something heavy struck it, and dust fell from the top shelf in a thin stream. The voice came again, closer now, edged with impatience. “We’re coming in.”
created_at"2026-02-19T12:42:55.487Z" 2/19/2026, 12:42:55 PM
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id"gen-1771504975-hTW8OXznFLWokkIm4k0E"
upstream_id"resp_077a0d1bf857dad3016997054f91e4819699e0201b88051416"
total_cost0.06040965
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
totalTags26
adverbTagCount0
adverbTags(empty)
dialogueSentences88
tagDensity0.295
leniency0.591
rawRatio0
effectiveRatio0
98.04% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2553
totalAiIsmAdverbs1
found
0
adverb"really"
count1
highlights
0"really"
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)
78.46% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2553
totalAiIsms11
found
0
word"familiar"
count1
1
word"flicked"
count2
2
word"tension"
count1
3
word"traced"
count1
4
word"magnetic"
count1
5
word"measured"
count1
6
word"silence"
count2
7
word"stomach"
count1
8
word"echo"
count1
highlights
0"familiar"
1"flicked"
2"tension"
3"traced"
4"magnetic"
5"measured"
6"silence"
7"stomach"
8"echo"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow1
found
0
label"let out a breath"
count1
1
label"eyes widened/narrowed"
count1
highlights
0"let out a breath"
1"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences204
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences204
filterMatches(empty)
hedgeMatches
0"managed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences266
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen61
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2547
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions48
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions168
wordCount1861
uniqueNames11
maxNameDensity3.44
worstName"Eva"
maxWindowNameDensity8
worstWindowName"Rory"
discoveredNames
Raven1
Nest1
Cardiff2
Rory61
Morgan1
Blackwood1
Silas34
Eva64
Italian1
Prague1
University1
persons
0"Nest"
1"Rory"
2"Morgan"
3"Blackwood"
4"Silas"
5"Eva"
6"University"
places
0"Raven"
1"Cardiff"
2"Prague"
globalScore0
windowScore0
56.54% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences107
glossingSentenceCount4
matches
0"sounded like a decision had already happen"
1"looked like the sort of thing you inherit"
2"looked like an old cut"
3"felt like an argument"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.393
wordCount2547
matches
0"not perfume exactly, but something antiseptic underneath, like hospital soap"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences266
matches
0"like that, he"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs183
mean13.92
std15.7
cv1.128
sampleLengths
012
163
21
337
48
528
62
7104
817
97
1038
1111
122
1345
1459
1539
1612
1714
189
194
2076
2121
228
235
244
2513
268
2731
285
293
3019
3114
3239
333
3429
3528
369
372
3861
3915
4017
4110
425
4336
442
453
466
473
483
496
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences204
matches
0"being asked"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs350
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences266
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1867
adjectiveStacks0
stackExamples(empty)
adverbCount60
adverbRatio0.032137118371719335
lyAdverbCount4
lyAdverbRatio0.0021424745581146223
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences266
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences266
mean9.58
std8.2
cv0.856
sampleLengths
012
15
235
323
41
511
626
78
86
95
1017
112
1211
1332
1461
1517
163
174
1816
192
2020
2111
222
239
2410
258
2618
2722
288
2929
3025
3114
3212
3314
349
354
365
374
386
3914
4013
4134
4221
435
443
455
464
4713
488
4914
44.36% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats15
diversityRatio0.20300751879699247
totalSentences266
uniqueOpeners54
77.52% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences172
matches
0"Then back to Rory."
1"Only to information."
2"Instead Eva tapped the photo,"
3"Then again, harder."
ratio0.023
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount23
totalSentences172
matches
0"He blinked at her like"
1"His eyes slid to her"
2"It didn’t belong to him."
3"It came from the other"
4"Her hair used to fall"
5"He didn’t raise his voice,"
6"He just sounded like a"
7"he said to Rory"
8"He reached beneath the bar"
9"he said to Eva"
10"She kept her hands flat"
11"It looked like the sort"
12"He didn’t sit when a"
13"He opened it, slid out"
14"Her jaw worked once, as"
15"She looked at Eva’s hands."
16"Her shoulders rose a fraction,"
17"He didn’t react to flattery."
18"He didn’t react to threats."
19"Her voice stayed steady, but"
ratio0.134
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount160
totalSentences172
matches
0"Rory caught the bottle by"
1"Glass sweated under her fingers."
2"Somebody had already tipped three"
3"A man with a shaved"
4"He blinked at her like"
5"His eyes slid to her"
6"A laugh cut through the"
7"It didn’t belong to him."
8"It came from the other"
9"The woman standing there held"
10"Her hair used to fall"
11"Eva Morgan looked at Rory"
12"The shaved-head man swung a"
13"The bottle in Rory’s hand"
14"Silas Blackwood’s voice sliced through"
15"Nobody argued with Silas when"
16"He didn’t raise his voice,"
17"He just sounded like a"
18"The shaved-head man spat on"
19"The green neon above the"
ratio0.93
29.07% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences172
matches
0"Now it sat cropped and"
ratio0.006
75.29% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences74
technicalSentenceCount7
matches
0"Now it sat cropped and deliberate against her jaw, a slick, expensive cut that framed a face Rory could have drawn from memory, except the memory didn’t include…"
1"Eva wore a smart little black coat that looked Italian, soft wool, sharp lines."
2"The collar hid her throat as if she didn’t trust anyone with it."
3"A thin gold chain glinted at her neck, plain enough to pass for ordinary until the light hit it and showed a tiny pendant, a neat rectangle that reminded Rory o…"
4"The third girl, small and sharp-featured, stared at the camera with a look that said she knew the photographer and didn’t forgive him."
5"Rory remembered her name as a blur, someone from a seminar, someone who vanished mid-term."
6"Her shoulders rose a fraction, as if she braced for impact."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags26
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags26
fancyCount1
fancyTags
0"Eva continued (continue)"
dialogueSentences88
tagDensity0.295
leniency0.591
rawRatio0.038
effectiveRatio0.023
85.3093%