Run: 2026-02-19-01KHTYTE5HD6Q9JNM5WSAHYR3V

Run Details

Model:
GPT-5.2
Duration:
1m 29s
Cost:
$0.051395
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Thriller 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="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</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> <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> </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 thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. 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
Quinn caught a fistful of the bloke’s jacket and tore cloth instead of stopping him. He stumbled, recovered, and shot a look back over his shoulder. His eyes widened when he saw her badge chain flash at her belt. Then he ran harder, boots slapping puddles and sending filthy water up her trousers. “Police. Stop.” He ignored her and cut across the mouth of the alley beside the Raven’s Nest. The bar’s green neon sign buzzed and flickered above the door, casting sickly light onto wet brick. A couple under the awning recoiled as the runner barged past them. Quinn drove a shoulder through the gap, her sharp jaw clenched, her breath controlled the way the training never left you. Eighteen years in, and her body still obeyed commands before her mind finished speaking them. He hit Old Compton Street at speed. Cars crawled, wipers ticking, horns blaring at the sudden sprinting figure. The runner darted between bumpers, palms skimming bonnets for balance. Quinn followed, boots skidding as she cleared a puddle that hid a kerb. Pain flared up her ankle. She swallowed it down and kept moving. A taxi lurched to a stop, inches from her knees. “Watch it.” Quinn slapped the bonnet. “Met Police. Move.” The driver’s mouth opened, shut again. Quinn didn’t spare him another glance. She tracked her suspect by the flick of his dark jacket as he shoved through a knot of smokers outside a late-night café. Steam from a coffee machine rolled out with the scent of burnt milk and sugary pastries. People turned, saw Quinn’s expression, and stepped aside. The runner clipped a woman’s shoulder. Her shopping bag split, oranges rolling into the gutter. She shouted after him, then at Quinn, then at the street itself. Quinn didn’t stop. He headed north, away from the tourist crush, towards streets that sloped into service lanes and delivery bays. He knew where he was going. That mattered more than his speed. Quinn matched it, the worn leather watch on her left wrist slick with water, the second hand ticking like a dare. He tried to lose her at a junction, feinting right, then snapping left into a narrow passage between buildings. Quinn went left with him, no hesitation. She’d watched him inside the Raven’s Nest, watched him pass a folded scrap of paper to a man with a ringed hand, watched him clock her reflection in the bar mirror. He had bolted the moment she stood. The passage funneled them into a yard full of bins. The runner sprang onto a low wall, scraped up and over, and dropped into the next lane with a wet thud. Quinn vaulted after him. Her palms hit stone, cold and slick. Her boots cleared the edge. She landed hard, knees bending, and pushed on. The runner glanced back again, and that glance cost him. His heel slid on a metal utility cover, and he windmilled, arms flailing. A small object bounced from his pocket and skittered across the pavement. A token, pale and matte, shaped like a flattened coin but uneven, like it had been carved from old bone. Quinn registered it in the same instant the runner realised he’d dropped it. He lunged for it. Quinn did too. Her hand closed over the token first. It felt warm, as if it had been held against skin for hours. Fine scratches etched one side, the lines forming a symbol that meant nothing to her and everything to him. “Give it back.” His voice cracked on the words. Young. Not as hard as he wanted to sound. Quinn rose, holding the bone token between finger and thumb. “Tell me where you’re going.” He didn’t answer. He turned and ran again, swearing under his breath. Quinn shoved the token into her pocket and went after him. He burst onto a wider street and angled towards a bus stop. A night bus hissed at the kerb, doors yawning open, passengers hunched inside with phones glowing. The runner leapt in. Quinn sprinted, arm out. “Hold that bus.” The driver glanced up, saw her, and shut the doors out of spite or fear, then pulled off. The runner stood by the rear window, chest heaving, and lifted two fingers in a crude salute. Quinn’s mouth tightened. She paced the bus for a few steps, then stopped and scanned. Her eyes picked up a line of parked e-scooters chained near a bike rack. She snapped the lock with a baton strike, yanked one free, and shoved off. London blurred into wet lights and close calls. She slalomed past stalled traffic, tyres whispering over slick tarmac. A lorry threw up a sheet of water that slapped her coat. She didn’t blink. Her cropped hair plastered to her scalp. Her grip stayed steady. The bus took a route that skirted the centre, cutting north. Quinn followed the red tail lights, darting down side roads when traffic thickened, then rejoining when she could. Twice she nearly lost it at intersections, but the bus’s bulk made it easier to track than one man on foot. Near Camden, the bus slowed for a stop. The runner shoved through the aisle and dropped off before the doors fully opened. Quinn abandoned the scooter against a railing and sprinted again, boots splashing through shallow puddles. The runner shot across the pavement and down a flight of steps beside a shuttered shop. A sign above the shop, half-lit, advertised phone repairs. A cheap plastic mannequin stared from behind a grilled window. He disappeared into the stairwell. Quinn took the steps two at a time. The concrete walls trapped sound, turning the city’s noise into a dull roar. The runner’s footsteps echoed below, quick and panicked. At the bottom, a corridor stretched ahead, lined with peeling posters for gigs long past. The air smelled of damp and old electricity. A service door stood ajar, a sliver of darkness beyond. Quinn pushed through. The corridor widened into what used to be a ticket hall. Old turnstiles sat crooked like broken teeth. Someone had daubed symbols on the tiles, neat and deliberate. Battery lanterns dotted the floor, their light trembling as people moved past them. People. Not commuters. A woman in a long coat bartered with a man whose eyes shone a wrong shade of yellow. A boy carried a tray of small glass vials that smoked faintly. A stall made from a folding table displayed rings that looked wet, though no water touched them. Quinn slowed. Her heart rate stayed high, but her instincts shifted. The runner had not fled into an ordinary underpass. He shoved through a gap between stalls, knocking shoulders, drawing curses. Nobody reached for him. Nobody stopped him. Several heads turned towards Quinn instead, and their attention had weight. A thick-necked man stepped into her path. His coat hung open to show a scarred chest. His smile held no warmth. “Market’s closed to you.” Quinn flashed her warrant card without thinking. The gesture looked ridiculous in this place. “I’m police. Move.” The man’s smile widened as if she’d told a joke. “Police can shop like everyone else.” A laugh rippled nearby. It didn’t sound human enough. Quinn shifted her stance, her body angling to keep her balance and her options. Her hand hovered near her radio, then paused. The signal would die down here. She felt it already, the device useless in her palm. A voice came from her left, low and familiar, carrying an accent softened by London but not erased. “Detective Quinn.” She turned. Tomás Herrera stood behind a stall stacked with medical supplies that looked half stolen, half antique. Bandages. Needles in sterile packs. A small, purposeful kit of tools laid out with care. His olive skin looked tired under the harsh lantern light. A Saint Christopher medallion rested against his throat, catching the glow when he moved. He gave her a look that held warning without begging. “You lost?” Quinn kept her face still. “I’m chasing a suspect.” Tomás’s gaze flicked to her pocket, to where the bone token made a hard edge under her coat. “You brought the right key for the wrong door.” The thick-necked man shifted, blocked her view of the path the runner took. “Token first.” Quinn didn’t move. She took in the crowd again, the stalls, the exits she could see. Two corridors led away, both swallowed by shadow. The old ticket booths had been converted into cages of goods, jars and boxes with labels in languages she didn’t read. A few people wore masks, not for disease, but for anonymity. One mask looked like polished wood, smooth and expressionless. The runner’s head popped into view above the crowd for a second as he looked back. He met Quinn’s eyes, then vanished behind hanging tarps. Quinn pushed past the thick-necked man. He grabbed her sleeve. She twisted, locked his wrist, and drove him into the nearest pillar. The move came clean, military precision. His breath whooshed out. She didn’t break the lock until she felt the tendons strain. The crowd reacted at once. Bodies shifted. Hands slid into pockets. Metal flashed. Tomás moved too, stepping out from his stall with both palms open. “Don’t.” The thick-necked man straightened, rubbing his wrist, eyes hard. “This isn’t a playground, detective.” Quinn’s voice stayed even. “Where’s the exit?” A woman with a shaved head and a fur-lined collar leaned close, sniffed the air near Quinn’s shoulder like she tasted her. “Exit costs extra.” Quinn held her ground. She counted faces. She counted hands. She saw a blade shaped like a surgeon’s scalpel. She saw a pistol that didn’t look like any model she’d trained against, its barrel etched with the same kind of scratches as the bone token. Tomás spoke again, softer. “He’ll go to the back. He’ll trade whatever he stole, then he’ll disappear.” “What did he steal?” Quinn asked. Tomás didn’t answer that. His eyes tightened. His left forearm scar showed when his sleeve rode up, a pale line against skin. “People here don’t like police,” he said. “They like money. They like favours. And they like quiet.” Quinn’s jaw flexed. “I don’t need their permission.” “That’s the mistake,” Tomás said. “You think rules follow you.” Quinn reached into her pocket and brought out the bone token. The thick-necked man’s gaze locked onto it. So did several others. The token looked dull in her hand, but the symbol on it seemed to pull the light. She didn’t give it to anyone. She slid it into her palm and closed her fist. “Tell me what this opens.” Tomás watched her hand. “It opens the Veil Market.” Quinn let the name settle. She’d heard whispers in reports that went nowhere, statements that got retracted, witnesses who forgot details that mattered. She’d filed them all under nonsense and desperation. Yet here it was, tucked under Camden like a parasite with a heartbeat. The runner’s shout cut through the noise, far ahead, sharp with fear. A second shout answered it, deeper, amused. The crowd surged towards the sound. Stalls rattled. Lanterns swung, throwing wild shadows over faces that suddenly looked hungry. Tomás grabbed Quinn’s sleeve, his grip firm. “Leave.” Quinn yanked free. “He’s my suspect.” “He’s someone’s property down here,” Tomás said. “That’s worse.” Quinn moved into the flow, forcing her way through bodies that resisted just enough to slow her. A shoulder slammed into her ribs. An elbow dug her side. She tasted copper, not blood, but the tang of old fear, the same flavour she’d swallowed the night DS Morris died and the world refused to explain itself. She reached a narrower corridor where the market thinned. The walls tightened in, tiled in soot-stained white. The sound ahead grew clearer, a scuffle, a thud against metal. Quinn rounded the corner and saw a gate made from iron bars set into the old station architecture. Someone had bolted it open, but a mechanism sat beside it, a slot carved into stone, bone token sized. The runner backed away from the gate, hands up, eyes wide. He stood before a figure in a long, dark coat that swallowed light. The figure’s face remained hidden, but a hand emerged, pale and elegant, holding a small knife that shone like glass. The runner saw Quinn and screamed. “They’ll kill me. They’ll kill you.” The figure turned its head towards Quinn. The movement looked slow, controlled. Intentional. Behind Quinn, the crowd’s footsteps hammered closer. Tomás’s voice rang from back down the corridor. “Harlow, don’t.” Quinn lifted the bone token. The figure’s knife tilted, inviting. Quinn slammed the token into the slot. The gate clanged shut behind her with a force that shook dust from the tiles, cutting her off from the corridor and the oncoming crowd as the mechanism locked with a heavy, final click.
created_at"2026-02-19T12:43:26.778Z" 2/19/2026, 12:43:26 PM
model"openai/gpt-5.2-20251211"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency16895
moderation_latency(null)
generation_time89203
tokens_prompt4663
tokens_completion3519
native_tokens_prompt4132
native_tokens_completion3601
native_tokens_completion_images0
native_tokens_reasoning825
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"
usage0.0513954
router(null)
provider_responses
0
endpoint_id"f00142c2-6a93-49ce-9e36-5593b904ce3b"
id"resp_0be9b3b43ab4477c016997056ee5208196ba46341af022b591"
is_byokfalse
latency214
model_permaslug"openai/gpt-5.2-20251211"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771505006-zhZoaOsfSph5gfavb3Qg"
upstream_id"resp_0be9b3b43ab4477c016997056ee5208196ba46341af022b591"
total_cost0.0513954
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
totalTags4
adverbTagCount0
adverbTags(empty)
dialogueSentences33
tagDensity0.121
leniency0.242
rawRatio0
effectiveRatio0
97.67% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2145
totalAiIsmAdverbs1
found
0
adverb"suddenly"
count1
highlights
0"suddenly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
69.70% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2145
totalAiIsms13
found
0
word"flickered"
count1
1
word"jaw clenched"
count1
2
word"lurched"
count1
3
word"etched"
count2
4
word"scanned"
count1
5
word"footsteps"
count2
6
word"echoed"
count1
7
word"weight"
count1
8
word"warmth"
count1
9
word"familiar"
count1
10
word"flicked"
count1
highlights
0"flickered"
1"jaw clenched"
2"lurched"
3"etched"
4"scanned"
5"footsteps"
6"echoed"
7"weight"
8"warmth"
9"familiar"
10"flicked"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"eyes widened/narrowed"
count1
1
label"jaw/fists clenched"
count1
highlights
0"eyes widened"
1"jaw clenched"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences206
matches
0"p with fear"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences206
filterMatches
0"watch"
hedgeMatches
0"tried to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences235
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen34
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2136
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
33.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions71
wordCount2000
uniqueNames13
maxNameDensity2.25
worstName"Quinn"
maxWindowNameDensity4
worstWindowName"Quinn"
discoveredNames
Raven2
Nest2
Old2
Compton1
Street1
Quinn45
Camden2
London2
Herrera1
Saint1
Christopher1
Tomás10
Morris1
persons
0"Nest"
1"Quinn"
2"Herrera"
3"Saint"
4"Christopher"
5"Tomás"
6"Morris"
places
0"Raven"
1"Old"
2"Compton"
3"Street"
4"London"
globalScore0.375
windowScore0.333
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences149
glossingSentenceCount1
matches
0"looked like polished wood, smooth and exp"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.936
wordCount2136
matches
0"not for disease, but for anonymity"
1"not blood, but the tang of old fear, the same flavour she’d swallowed the n"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences235
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs117
mean18.26
std17.59
cv0.964
sampleLengths
015
138
22
380
453
510
62
74
83
959
1030
1151
1264
1331
1424
1535
1620
1713
184
193
2039
213
2215
2310
245
2512
2611
2732
284
293
3035
3115
3228
3344
3450
3522
3650
375
3829
3933
403
4141
423
4347
4420
4529
4621
474
4814
493
96.75% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences206
matches
0"been carved"
1"been held"
2"been converted"
3"got retracted"
4"was, tucked"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs399
matches
0"was going"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences235
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2009
adjectiveStacks0
stackExamples(empty)
adverbCount48
adverbRatio0.023892483822797413
lyAdverbCount5
lyAdverbRatio0.0024888003982080635
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences235
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences235
mean9.09
std5.87
cv0.646
sampleLengths
015
111
213
314
42
515
617
712
821
915
107
1111
1210
1313
145
157
1610
172
184
193
206
216
2223
2316
248
256
269
2712
283
2918
306
316
3221
3319
347
3531
367
3710
3821
394
407
415
428
4310
4413
4512
4620
4713
484
493
39.79% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats24
diversityRatio0.25957446808510637
totalSentences235
uniqueOpeners61
34.72% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences192
matches
0"Then he ran harder, boots"
1"Twice she nearly lost it"
ratio0.01
95.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount60
totalSentences192
matches
0"He stumbled, recovered, and shot"
1"His eyes widened when he"
2"He ignored her and cut"
3"He hit Old Compton Street"
4"She swallowed it down and"
5"She tracked her suspect by"
6"Her shopping bag split, oranges"
7"She shouted after him, then"
8"He headed north, away from"
9"He knew where he was"
10"He tried to lose her"
11"She’d watched him inside the"
12"He had bolted the moment"
13"Her palms hit stone, cold"
14"Her boots cleared the edge."
15"She landed hard, knees bending,"
16"His heel slid on a"
17"He lunged for it."
18"Her hand closed over the"
19"It felt warm, as if"
ratio0.313
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount178
totalSentences192
matches
0"Quinn caught a fistful of"
1"He stumbled, recovered, and shot"
2"His eyes widened when he"
3"He ignored her and cut"
4"The bar’s green neon sign"
5"A couple under the awning"
6"Quinn drove a shoulder through"
7"He hit Old Compton Street"
8"Cars crawled, wipers ticking, horns"
9"The runner darted between bumpers,"
10"Quinn followed, boots skidding as"
11"Pain flared up her ankle."
12"She swallowed it down and"
13"A taxi lurched to a"
14"Quinn slapped the bonnet."
15"The driver’s mouth opened, shut"
16"Quinn didn’t spare him another"
17"She tracked her suspect by"
18"Steam from a coffee machine"
19"People turned, saw Quinn’s expression,"
ratio0.927
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences192
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences97
technicalSentenceCount5
matches
0"He headed north, away from the tourist crush, towards streets that sloped into service lanes and delivery bays."
1"Fine scratches etched one side, the lines forming a symbol that meant nothing to her and everything to him."
2"Tomás Herrera stood behind a stall stacked with medical supplies that looked half stolen, half antique."
3"She saw a pistol that didn’t look like any model she’d trained against, its barrel etched with the same kind of scratches as the bone token."
4"The gate clanged shut behind her with a force that shook dust from the tiles, cutting her off from the corridor and the oncoming crowd as the mechanism locked w…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount0
fancyTags(empty)
dialogueSentences33
tagDensity0.121
leniency0.242
rawRatio0
effectiveRatio0
84.4541%