Run: 2026-02-19-01KHTYYBVWS5EHZS0Y0VS12JBQ

Run Details

Model:
GPT-5
Duration:
2m 44s
Cost:
$0.060567
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 the hoodie and it ripped out of her grip, nylon squealing against her palm as the runner twisted from the alley and cut hard into the main drag. Police. Stop. The word tangled with the blare of a horn and the slap-slap of trainers on slick stone. He glanced back once, pale face under the hood, eyes too bright, then he vaulted a stack of milk crates and plunged through a knot of late-night drinkers who scattered with curses. Her shoulder hit a wall, paint flaked under her palm, and she pushed off. Knee high. Keep cadence. Thirty metres to contact. She measured breath against the twinge in her ribs and the weight of her service pistol under her coat. People moved like an unruly tide, laughter and music fraying as she cut through it, badge at her throat catching stray light. He hit the kerb and vanished between a shuttered phone shop and a kebab joint where meat sizzled on a spit and smoke smelt like cumin and hot fat. Quinn drove into the gap, knuckles skimming the corrugated steel of the shop fronts, and her radio cracked. Control, Quinn in foot pursuit. Male, dark hoodie, grey jeans, Camden High Street, heading east, possible link to the Soho burglary series. The operator said something about units. She shut the sound down with a thumb and kept moving. He took a sudden left through a side gate, shoulder to the metal. The padlock hung open but someone had tied a red ribbon around it. He did not pause. She fed herself through the gap after him, jacket snagging, watch scraping the edge. The gate clanged behind her. Ahead, the ground dropped away into a concrete stairwell that cut down under the street, a black mouth with a sign half torn away. The remaining letters made a word she knew and did not like. Camden. Disused since the line had closed this entrance down in the nineties. He ran into the dark and his footfalls turned hollow. She took the steps two at a time. Water dripped somewhere with a tap-tap like a metronome gone lazy. The smell hit as the street peeled away from her nostrils, damp metal, the brackish scent of the Underground, old electricity and mould. She rounded the first switchback and saw him shoot past a metal door with a faded No Entry and a strange chalk mark beneath it, a looping symbol like a fish hooked on its own tail. He did not slow at the bottom. He headed for another door, this one painted a careful black. The man standing in front of it wore a suit that had been good once and now carried the sheen of too many wipes with a damp cloth. His hair lay in neat lines as if combed with a ruler. In his palm, a sliver of bone gleamed, a thumb-length token carved with crosshatching and a tiny hole laced with red thread. The runner palmed his own token. The suited man looked at it, looked at the runner, and his mouth twitched. Quinn reached the last step. The suited man raised his gaze to her, measuring. His eyes had a stillness that did not belong in a station. He held out his hand. She feinted left as if reaching for her ID and drove her right shoulder into the door. The man’s hand snapped out, not slow at all now, and caught her sleeve. Membership, love. Police. Move. His grip tightened. She twisted, broke the hold, and he lost balance for a fraction. She put her boot in the gap and shoved. The runner had already slid inside. The door gave an inch, then two. Hands came from the gloom and pushed back. Her palm shot to her left wrist and found leather. Not now. She drove the heel of her hand into the hinge and her weight through the frame. Muscle memory did the ugly work. The suited man hissed, breath sour with cloves. The door yawned. She slipped sideways, exhaled, and fell into the dark with her forearm up, pistol holstered by intent because shooting into unknowns buried you faster than dirt. Sound changed. Everything felt close and then wide, as if the air had pulled a trick with its ribs. She blinked and a thousand small lights sprung out of gloom like stars where no sky lived. A train platform opened under her feet, not any in service, its tiles cracked and painted over with sigils, its ironwork dressed in faded banners. Stalls covered the length of it, stitched from canvas and velvet, scaffolds making narrow streets where the tracks had been. The market thrummed with the soft press of voices and the wet click of something alive being put in a bucket. Glass jars leaned against each other in orderly ranks and clouds of pinprick lights swam inside them like patient insects. A woman in three layers of shawls poured something silver into a paper cone and folded it as if it were hot sugar. A boy with pupils stretched too long across his irises stood on a crate and sang an old song about ships. Money changed hands. Not just money. Rings. A lock of hair tied with blue cotton. A laugh that did not carry warmth. Quinn flattened against a pillar and scanned. The runner had to be ahead, threading the stalls. He had not looked back in the last minute, which made him confident. Confidence got you sloppy. Her radio murmured up her sleeve. She killed it. Somewhere under the adverts that had peeled and fallen to the platform floor, someone had chalked a long thin line and letters whispered, Veil Market, behave or get gone. You do not belong here, detective. The thought did not voice itself. It had DS Morris’s timbre and she shut it in a box with rusted sides and moved. She slid along an apothecary’s table where dried herbs hung upside down in neat ties and the woman behind it ground something with a pestle while watching her with a narrow mouth. To her right, a stall sold maps. Not city ones. Parchment with waterways that had no names she recognised, lines like veins. An old man in a tweed jacket arranged them with reverent fingers, the way you might touch skin bruised by a ring. Something punched her upper arm as a kid with a leather satchel ducked under her elbow, quick as a ferret. He looked up, dark eyes sharp, then saw her face and away he went. She let him. Ahead, movement she wanted. The runner’s hood bobbed near the end of the platform, past a string of lights strung on copper wire and a crate of knives with mother-of-pearl handles. He turned his head. Their eyes met for one clean heartbeat across people and objects. He smiled, too many teeth for the mouth, and then he slipped down onto the old track bed. Quinn followed. The tracks shone with old oil and new damp. Somebody had set planks across them as footbridges and they bounced against ballast when she made contact. The runner pivoted and picked up speed, a dart through the gap where the platform ended and the tunnel mouth began. She could not risk a shouted warning here. The place moved under rules that met letters she had sworn to and made them shiver. A hand caught her sleeve, not the firm clam of the doorkeeper but a swift brush like a moth. Detective. She half turned. The man who had spoken wore a faded green jacket with dark stains and an exhausted smile. His hair curled in damp loops and his warm brown eyes measured her with a worry that looked honest. A Saint Christopher medallion flashed at his throat as he shifted, a quick glint in the string of lights. His left forearm carried a pale scar from wrist to elbow, raised and shiny in the low light. Herrera. I know a lost look when I see one. He kept his voice low. You need a token. I need him. She flicked a glance past Tomás to the tunnel, where the last of the runner’s shoulder vanished into dark. He had a smaller shape with him now, or the dark made shapes. Her fingers twitched towards the pistol. Her jaw locked. Then you need this. He pressed something cool and small into her palm and folded her fingers over it. Bone. Smooth with sweat. He looked over her shoulder. Two wardens stood three stalls back, tall and straight in black coats, faces hidden by iron half-masks engraved with designs that hurt when you looked too long. Their attention moved like lighthouses in slow arcs. They smelt wrong, like old pennies and rain on stone where no sky reached. Quinn tucked the bone under her watchstrap. Her throat worked once. Why are you helping me. We patch people, no matter what mess they throw themselves into. He lifted a shoulder. Besides, your runner buys banned coagulants. Bad ones. I prefer him poor and annoyed. Stay out of this. I will, if you do not bleed out where I cannot reach you. He touched her sleeve a second, gentle. And, Harlow. Do not draw the gun unless you want the whole place to eat you. She set off before he could see the line of her mouth soften. The tunnel swallowed her. Light fell away in steps, a notch at a time, until the glow behind her turned thin. The runner’s trainers whispered ballast, a soft grate. She steadied breathing. Her eyes adjusted. White paint on the wall ahead bore cracked letters that spelled Northbound and someone had written in tiny neat hand beneath, No such thing down here. He had paused. She felt it like an echo. He was waiting for her. The ballast shifted under her boot. Ten metres ahead, he slid into a side cut, an old service passage, brickwork sweating and crumbled at the corners. She slid after him, her free hand grazing rough brick. Sound muffled. The air in the passage lifted the hairs along her forearm, a current she could not locate. The runner turned, at last, and his face came clear. You should have kept to roads, officer. He was young. Cheekbones like blades and a healed slit in one eyebrow. His pupils sat wide, eating the brown. When he grinned, the canines touched longer than they should. He held something cupped against his chest, a glass vial stoppered with red wax. The liquid inside moved slow, not like liquid at all, more like a muscle trying to rest. She showed her palm. No badge now. No gun. Nothing that could make the Market twitch. Come quietly. Come clever. He tilted his head, listening. Footsteps behind her, the wardens, patience embodied. He flicked his eyes to her left hand. His grin altered. Token. Tut. Someone fancies you. I do not do fan clubs. He lifted the vial and tapped the wax. The sound went ping. The hair on the back of her neck crawled. You chase what you do not understand. He rolled the words in a voice that had learned to sound like boys on estates and then something else had taught it how to peel that skin away. You lost one already. Want to lose more. Her hand went nowhere. He watched. He needed her angry. He needed her careless. She breathed in. Copper stung the air. Blood. Not hers. Recent. She weighed the passage’s width, the runner’s stance, the give in his knees. She could close the gap if he committed to the throw. She could take the hit and still reach his throat. Two beats and a cut. Behind him, the passage opened without opening. A soft change in bricks, a suggestion of space where wall had been. A curtain of beads, not beads, little bones with holes drilled clean and strung on gut. They clicked. He edged a half step toward them. You step through that, I drag you back out by your spine. Bold. His grin showed heat. He loved the game. He put his thumb to the red wax. Someone spoke behind Quinn, voice clipped and formal, vowels flattened by an accent not from any London she knew. Tokens please. She did not look back. The runner did not either. He pressed. Quinn moved. Her shoulder hit his chest. The vial went up between them like a small heart, and she snatched for it as a child might catch a falling orange. Her fingers grazed hot glass. It turned. It fell. The wax kissed brick and the red seal split with a wet sound like lips parting. Do not breathe. Herrera. His voice cut across the distance. He stood at the mouth of the service passage now, haloed by market light, a fold of his jacket hiding his hands. His eyes held hers for a white-blue second. Too late. The vial cooked open and breathed for them. A soft vapour rose, fine and shimmering, with a smell like cinnamon mixed with a penny held under the tongue. It snaked across Quinn’s cheeks, under her eyelids, cold and sticky. The runner took that heartbeat. He snapped a tiny blade from his sleeve and struck across her forearm. A line of fire opened, thin and clean. Her grip did not loosen. She slammed him into the bricks and he laughed with surprise. His wrist bones popped under her fingers. The wardens arrived at the passage mouth and the air behind them altered, crowd sound sliding away, like a room when someone important entered it. A mask loomed closer. Tokens. Quinn showed her wrist. The bone hung pale in the skin of her watchstrap. The warden looked once. Its eyes behind iron did not blink. Sanctioned. It said the word like a verdict. The runner stamped on her foot. Pain climbed her shin. He wrenched and wriggled and then he had something new in his hand, not the blade, a rectangle of dark glass that drank the light. He put it against the curtain of tiny bones and the bones stilled as if a wind had stopped. Quinn drove her knee. It took him low in the thigh. He howled and their faces came too close. His breath smelt like mint and old smoke. Say hello to the rest of your dead. She felt the low growl before she heard it. The bones of the passage vibrated with it, a sound like a far-off train but no train ran here. The vapour from the broken vial thickened, threads of it twisting into a figure that could have been a man or not. Teeth gleamed inside it like small strings of pearls. The runner’s eyes widened for a hair’s breadth, not with fear but with triumph. Herrera shoved a cotton handkerchief into Quinn’s hand, already damp with something that smelt like eucalyptus and sugar. He made a sign with his other hand, two fingers touching thumb. Old first aid trick for kids to breathe slow. His mouth formed words without sound. Out. Now. Quinn yanked the runner around to use his body as a barrier between her and the rising thing. He bucked, grabbed at her injured arm, and twisted. The knife flicked again and blood slicked her skin. Her boot slipped on the thickening damp and her hip hit brick. Behind her, iron scraped stone. The warden had taken a step forward and the edge of its coat revealed a baton wrought from something that ate light. The curtain split. It did not part like cloth. It unraveled. The tiny bones turned and turned until they lay flat, and then the gap showed nothing at all except that it made the hair on Quinn’s arms flatten to her skin. Cold reached through it. Voices leaked, reversed, like songs played backwards in a teenage room. The runner smiled with his whole face, a boy and a wolf in the same skin. Catch me, officer. He tore free of her fingers, left skin in them, and flung himself sidewise through the gap. Quinn went after him. The thing in the gas turned its head, which was not a head at all but a twist in the shimmering. Its attention slid over her like oil. The warden’s baton came up. Herrera swore in a soft, tired voice. The floor shuddered as if the station above had stretched and yawned. The planks over the track shifted, one popping like a snapped tongue. A bottle on a distant stall burst. People screamed. Not the good kind. The sound that said, this place has rules and someone has ripped one. Quinn hit the threshold with her shoulder and the world tilted, and all the lights in the market flickered as if something had drawn a breath that emptied the room. She lost purchase on brick and gravity forgot its job. She fell into the cut as the void opened its mouth and roared.
created_at"2026-02-19T12:45:35.492Z" 2/19/2026, 12:45:35 PM
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id"gen-1771505135-QvEI3A8X3wqiQWz9k3Yk"
upstream_id"resp_0bff7812653f3a8601699705ef92a88194b21b3347559b0c1c"
total_cost0.060567
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
totalTags0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2849
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
66.65% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2849
totalAiIsms19
found
0
word"measured"
count2
1
word"weight"
count2
2
word"gloom"
count2
3
word"velvet"
count1
4
word"warmth"
count1
5
word"scanned"
count1
6
word"glint"
count1
7
word"flicked"
count3
8
word"echo"
count1
9
word"eyebrow"
count1
10
word"footsteps"
count1
11
word"loomed"
count1
12
word"vibrated"
count1
13
word"flickered"
count1
highlights
0"measured"
1"weight"
2"gloom"
3"velvet"
4"warmth"
5"scanned"
6"glint"
7"flicked"
8"echo"
9"eyebrow"
10"footsteps"
11"loomed"
12"vibrated"
13"flickered"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes widened"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells2
narrationSentences292
matches
0"d with surprise"
1"t with fear"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount0
narrationSentences292
filterMatches
0"know see"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences292
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2840
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions2
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions44
wordCount2840
uniqueNames18
maxNameDensity0.6
worstName"Quinn"
maxWindowNameDensity1.5
worstWindowName"Quinn"
discoveredNames
Quinn17
Camden2
High1
Street1
Soho1
Underground1
Entry1
Veil1
Market2
Morris1
Saint1
Christopher1
Tomás1
Harlow1
Northbound1
London1
You6
Herrera4
persons
0"Quinn"
1"Market"
2"Morris"
3"Saint"
4"Christopher"
5"Tomás"
6"You"
7"Herrera"
places
0"Camden"
1"High"
2"Street"
3"Soho"
4"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences181
glossingSentenceCount1
matches
0"as if reaching for her ID and drove her right shoulder into the door"
94.37% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords1.056
wordCount2840
matches
0"not the firm clam of the doorkeeper but a swift brush like a moth"
1"not with fear but with triumph"
2"not a head at all but a twist in the shimmering"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences292
matches
0"peel that skin"
1"took that heartbeat"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs83
mean34.22
std26.66
cv0.779
sampleLengths
030
12
249
363
447
522
617
798
888
980
1020
1131
1231
132
142
1545
1671
1781
18107
1933
2038
216
2223
2376
2437
2564
2673
2719
281
2976
301
3118
3244
3377
3411
355
3629
374
3836
3974
4020
4159
427
4361
4416
452
4630
476
4821
4944
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences292
matches
0"get gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs501
matches
0"was waiting"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences292
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2849
adjectiveStacks0
stackExamples(empty)
adverbCount54
adverbRatio0.018954018954018954
lyAdverbCount4
lyAdverbRatio0.001404001404001404
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences292
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences292
mean9.73
std7.58
cv0.779
sampleLengths
030
11
21
317
432
514
62
72
84
919
1022
1129
1218
135
1417
156
1611
1713
1813
194
2014
215
2224
2312
241
2512
2610
278
2811
2923
3036
317
3211
3328
3412
3522
366
3714
385
399
4012
415
4217
4314
442
451
461
473
4812
499
41.10% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats26
diversityRatio0.2979452054794521
totalSentences292
uniqueOpeners87
26.67% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences250
matches
0"Somewhere under the adverts that"
1"Then you need this."
ratio0.008
32.80% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount117
totalSentences250
matches
0"He glanced back once, pale"
1"Her shoulder hit a wall,"
2"She measured breath against the"
3"He hit the kerb and"
4"She shut the sound down"
5"He took a sudden left"
6"He did not pause."
7"She fed herself through the"
8"He ran into the dark"
9"She took the steps two"
10"She rounded the first switchback"
11"He did not slow at"
12"He headed for another door,"
13"His hair lay in neat"
14"His eyes had a stillness"
15"He held out his hand."
16"She feinted left as if"
17"His grip tightened."
18"She twisted, broke the hold,"
19"She put her boot in"
ratio0.468
26.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount217
totalSentences250
matches
0"Quinn caught the hoodie and"
1"The word tangled with the"
2"He glanced back once, pale"
3"Her shoulder hit a wall,"
4"She measured breath against the"
5"People moved like an unruly"
6"He hit the kerb and"
7"Quinn drove into the gap,"
8"The operator said something about"
9"She shut the sound down"
10"He took a sudden left"
11"The padlock hung open but"
12"He did not pause."
13"She fed herself through the"
14"The gate clanged behind her."
15"The remaining letters made a"
16"He ran into the dark"
17"She took the steps two"
18"Water dripped somewhere with a"
19"The smell hit as the"
ratio0.868
20.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences250
matches
0"To her right, a stall"
ratio0.004
81.28% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences116
technicalSentenceCount10
matches
0"He glanced back once, pale face under the hood, eyes too bright, then he vaulted a stack of milk crates and plunged through a knot of late-night drinkers who sc…"
1"People moved like an unruly tide, laughter and music fraying as she cut through it, badge at her throat catching stray light."
2"The man standing in front of it wore a suit that had been good once and now carried the sheen of too many wipes with a damp cloth."
3"Somewhere under the adverts that had peeled and fallen to the platform floor, someone had chalked a long thin line and letters whispered, Veil Market, behave or…"
4"Parchment with waterways that had no names she recognised, lines like veins."
5"His hair curled in damp loops and his warm brown eyes measured her with a worry that looked honest."
6"Two wardens stood three stalls back, tall and straight in black coats, faces hidden by iron half-masks engraved with designs that hurt when you looked too long."
7"White paint on the wall ahead bore cracked letters that spelled Northbound and someone had written in tiny neat hand beneath, No such thing down here."
8"He wrenched and wriggled and then he had something new in his hand, not the blade, a rectangle of dark glass that drank the light."
9"Quinn hit the threshold with her shoulder and the world tilted, and all the lights in the market flickered as if something had drawn a breath that emptied the r…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags0
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
86.2955%