Run: 2026-02-19-01KHTYYGF45E3FR9QB9QGK4G88

Run Details

Duration:
1m 9s
Cost:
$0.011283
Provider:
OpenAI

Model input

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

Model response

AI
She pried the small brass thing from between the dead man's fingers and felt the cold of it through the leather of her glove, like a secret that had been keeping itself for a long time. "You found anything?" Jonah asked, boots skidding in the chalk dust as he crouched beside her. He had a torch clenched between his teeth, breath fogging white in the damp air. "It points." Harlow turned the Compass under the torch. The needle, thin and bright against a face etched with protective sigils, swung a slow, deliberate arc and settled toward the tunnel mouth. Verdigris stained its casing. Someone had tried to hide it in plain sight. "Pointer's broken," Jonah said. He reached for the man's wrist where a syringe lay half-buried in his sleeve, a dark brown residue caked on the plunger. "Overdose. Classic. I'd call it at once." "Don't be cute, Jonah." Harlow's voice was flat, disciplined. She crouched and scanned the circle around the body with the kind of attention that had kept her alive on operations where human error killed people. She noted the layout in three heartbeats: no sign of struggle, shoes placed neatly side by side, hands folded, mouth full of dust. The man's pupils were a glassy, fixed black. No needle track on the forearm under where Ellen had interrupted the sleeve; the plunger had been jammed in later. Eva's voice came from the shadow where she had been kneeling over the strange sigils drawn in whatever dust gathered on the platform tiles. "Those marks are protective," she said. Her round glasses caught the torchlight. She pushed a curl behind her left ear and leaned in. "Not protection from people. Protection from crossing." "Protection from what?" Jonah rubbed his chin. He wished he didn't have to sound sceptical, because he liked Eva, but crime scenes annoyed him when magicked up explanations came cheaper than facts. "From a rift," Eva said slowly, careful like someone reciting notes for nervous eyes. "They're reversed sigils. It's a barrier painted to keep something in, not out." "Or someone wanted us to think that," Jonah answered. He pocketed the syringe, which left a smear of brown on his glove. "Either way it's a drug scene. Blues will process. Coroner will do the rest." Harlow kept looking. The dust formed whisper-thin crescents around the man's shoes, as if dancers had been careful to avoid stepping near them. There were eight sets of footprints beyond the dust ring, shallow and wide, as if the wearers had been moving on tiptoe while carrying weight. The CCTV feed for the station had been interrupted eleven minutes before Jonah's call. The emergency lights had not triggered until their van's siren woke the umbra. "Whoever did this staged it," Harlow said. She tapped the Compass face with the back of her fingernail. The sigils hummed faintly, a barbed note like electricity under skin. "They wanted us to see an overdose and leave. They wanted the needle to be the story." Eva looked up, eyes bright and pleading. "If this is a rift, it would explain why the usual signs of death are missing. Matter doesn't behave the same near one." Jonah snorted. "We don't have rifts, Evie. We have people who take drugs and die under stations. It's Thursday night, Camden. It's what happens." Harlow didn't argue. She worked instead. Her fingers moved with the calm precision of someone who had been in fields where seconds made laws. She slid her torch along the body's sides and found the source of the radiating cold—small puncture marks in the soles of the shoes, tiny and neat, filled with a black resin that smelled faintly of iron and something sweet, like burning cloves. Whoever had manufactured those marks had worked with intent. "Whoever came here knew the market," she said. "The Veil Market. Someone with a bone token could get in easy. You don't get those resin marks artisanally on shoes at random." Eva's hands trembled a fraction. "Bone token. That's for entry, yes. Whoever weaves a Compass with sigils and leaves a token out in a place like this doesn't market their wares to the general public. It's Shade work." Jonah's jaw ticked. "Shade?" "That's not a street gang, Jonah." Harlow's eyes held his. She wore her watch with the left wrist the way you see people who had been trained, small leather strap darkened at the buckle from nights of use. Her voice did not raise. "Shade artisans make tools for crossing and keeping crossed things. They sell to collectors and the desperate. They don't leave a syringe and call it a night." Jonah looked away. The torchlight caught on the rotor of the underground fan above them, and it sounded like a throat clearing. "Fine. Say it's not drugs. What's the cause of death then? We can't put philosophy on the forms." "You found the syringe near his wrist," Harlow said. "It was meant to be found. But his blood didn't pool like a haemorrhage. He froze like water in a pan left on a cold stove. Rigor started, but not where it should. The neck's intact. No trauma. If something took him apart we should see it. We don't. If something left through a breach, the way it took hold would leave scorch, not soot. Look at the maintenance grill by the third pillar. It has no scorch." Eva crouched and touched the sigils with a gloved fingertip. "Protection in reverse burns a hole into the barrier to allow a controlled exit. It should leave ash, but only in the shape of the sigils. Whoever cast this has a poor hand at their letters, Harlow. The circle's reversed." Harlow's mind folded the evidence neatly. The man had served as bait or sacrifice, perhaps voluntarily, perhaps not. The Compass indicated a location. The token that would admit entry had been absent; that made no sense if the Veil Market had been used as a gateway. The footprints suggested a group had come and gone in formation. The CCTV had been turned off from the inside, at a time aligned to the full moon schedule in the Market's calendar, though the Market was not displacing above ground tonight. Somebody had moved the Market's hours, or smuggled its tradesman in on a different ledger. "Whoever did this knew the schedule for the Market to the minute," Harlow said. "They timed the cut to let the feed go dark just long enough to place something here. Someone at the Market took something out." Jonah flapped his hands, exasperation flattening his features. "You want to go shopping for occultists now while we have a corpse? We bag it, tag it, and let the crime lab tell us how long since breathing stopped." "We bag it, Jonah." Harlow's voice cut clean, resolute. "But we don't record it as an overdose without seeing the toxicology. Something about this is staged on purpose to hide what left. The Compass is not a trinket. Shade brasswork has signatures. That needle does not point at random. I want forensics to photograph everything before anyone moves it. And call Eva's contact in the Market. Someone will know what Shade artisan made this." Jonah frowned. "You know someone in the Market?" "I know someone who has breached the Market's code before," Harlow said. She had no time to explain the pulled thread of the last three years in one exchange. DS Morris's disappearance had been wronged by forces she could not yet name. She kept the memory close, a razor she did not yet use openly. "Call Eva's contact. Call forensics. And lock down the station exits." Jonah's phone lit up in his hand. He made the calls with the unwilling speed of someone who preferred certainty to puzzles. Eva stayed kneeling, tracing the sigils by fingertip while whispering under her breath. Her round glasses moved, catching reflections like a nervous bird marking her territory. "The protective marks are imperfect," she said. "See how the loops do not close. It's like a note played a semitone lower than it should be. That invites misalignment. Whoever opened this device planned for an extraction, not a crossing." Harlow crouched over the man's face. She let the torch rest on the profile. There was a faint ring of soot around the right temple that vanished under close inspection, as if someone had polished the residue away. The mouth had been arranged into an almost gentle half-smile. The hands were clean. The Compass lay in the clutch of fingers as if it had decided to be heavy at the end. "He's been used as a marker," Harlow said. "Not a killer's trophy. A flag. A map. They made him into a signpost. Someone wanted us to read it and not look where the arrow actually pointed." "Which is?" Jonah asked. He was breathing faster now. His street-sleuth confidence eroded in small increments. The Compass trembled. The needle shivered and then set, not toward the back tunnel as Harlow had expected, but toward the maintenance door at the far end of the platform, the one they had always thought led only to service corridors and old plumbing. It pointed, finally, at something the others had not considered: the old staff room, sealed after the station's refurbishment. Harlow rose without comment and walked. Her boots were silent on the dust, as if she'd learnt long ago to let floors tell their stories without trampling them. The maintenance door's lock looked newer than the rusted hinges around it. Someone had replaced the lock, then painted over the screws. "Who has keys?" Jonah asked. "The Market's keyholders and anyone stupid enough to buy a cloned one," Eva said, breathy and small. Harlow pressed the Compass against the door. The needle hit the brass face and refused to move. The sigils flared faintly, like embers under a coal. A humming began, low and circular in the bones of the station, and every tiny loose item in Harlow's pockets vibrated. Her watch ticked. Tick-tock. It felt like a countdown muffled inside cloth. "Open it," she said. She did not ask for permission. Jonah produced a tool kit like an apologetic magician. He worked on the screws with hands that shook a little. Eva stood with her satchel tight, fingers clinging to the strap, her freckled face paling. The screws loosened and Jonah pushed the door. It gave without protest. The staff room was a pocket of stale air and old posters, nothing more. Until the floor under their feet rolled like a page being turned. A breath of cold, not from weather but from somewhere that had waited long, pressed outward and touched their cheeks. The Compass slammed in Harlow's hand. Its needle spun hard, faster than any magnet should allow, and then came to rest with the point not at the door, but at Harlow, at the thin place between her ribs. "You see?" Jonah whispered. "Not yet," Harlow said. She had the kind of silence that armed people kept before action. Her mouth was narrow. Her eyes moved like instruments, measuring, triangulating. The hum built into a chord. The sigils on the Compass face bled into the light and the lines cast shadows that were not quite shadows. From the dark beyond the room the platform lights deepened and a shape inhaled. Something moved beneath the platform tiles, a sound like a thing waking under old wood. A draft smelled of copper and ash and wet soil. The man's shoes on the tiles across the platform scuffed themselves as if someone had just set them down minutes before. Harlow felt, in the place inside her where she kept decisions, a sliding memory of a partner she had lost to a wrong that had no forensics. A hand, slow and patient, pushed up through the gap between the tiles at the far end of the platform. It was black as oil, not quite shadow, and it had fingers that ended in nothing you could name. The Compass's needle pointed at it as if it had always intended to. Jonah's torch jerked. Eva made a small sound like a bird trapped in a throat. Harlow tightened her grip on the Compass. Her left wrist flexed and her leather watch creaked like an old promise. She had the look of someone who had been trained to cut ties clean. Her mouth barely moved. "Back," she said. The word was a command and a calculation. The thing at the tiles answered without voice, by sending a thin, sharp note that bent the air. The sigils on the Compass bit into that note and the light in the station recoiled. Jonah's breath left him in a small, sharp sound. The maintenance door they had just opened slammed shut on its own and the lock clicked from outside with a neatness that felt personal. The tiles underfoot stilled. The single shoe across the platform turned its toe toward them, as if someone had nudged it on purpose. Harlow saw then, with a clarity that had nothing to do with goodness: they had been invited to witness. The victim had been placed where witnesses would find him. The Compass had been set to indicate direction, but someone had timed the signal to reveal the receiver, not the sender. The Market had been used as a mailbox, and whatever used it had come back for the next delivery. "Arm up," Harlow said, and this time she did not add please. Her voice left nothing unspoken. She flicked the torch to a red beam and angled it at the black hand that gripped the tile seam. The beam cut the thing in half with light and showed it raw, like a bruise under skin. The hand flexed and something like a laugh made the air stumble. The Compass on her palm warmed until it burned. "Take cover!" Jonah shouted, but the command came hollow. Something moved under the platform with the deliberate patience of an animal that had been waiting out storms. The tile under the black hand lifted a millimetre and then another. The seam widened. There was no way to step out of it. The hum folded into a song threaded with metallic notes and old brass. Harlow's hand closed around the Compass. She had no plan beyond keeping her head cold, but she did have two decades of looking at how people made lies look like truth. She had a habit of trusting details more than people. The tile gave. The black hand slipped free and reached toward the air and, toward the Compass, as if it had been made to collect. Harlow swore as she had sworn in field exercises when things went wrong and rules were broken and you had to invent answers fast. She raised her arm, not to use the Compass but to hold it between her and whatever wanted it. The needle shone. The sigils pulsed. The thing grasped. The Compass left her hand like it had weight and will of its own. It flew into the black palm and vanished like a coin swallowed whole. The lights died in a clean, slow wave. The station fell into an absence so absolute that it felt like an erasure. Jonah cursed and reached with both hands. Eva made the noise again, louder. Harlow ran on reflex into the space where the tile had lifted, into the seam of dark that wanted a shape. Her fingers brushed something cold and moved. The platform reeled with a sound like distant thunder. Her watch ticked and then stopped, as if someone had finally wound the wrong clock. Something took the Compass into the dark and the dark accepted it. The platform ate the hand, and with it it seemed to take the direction and the reason they had come. They reached into the seam and found only dust and a smear of black that looked like oil and smoke and old grief. The air tasted of copper. On the platform, the dead man lay as if he had been dreaming, mouth set in that small, patient smile. Someone, somewhere, had closed a ledger. Harlow's throat felt hollow with the shape of the answer. She had seen enough to know she had not seen enough. She let the silence stand between them, heavy and populated. Jonah swallowed and said, "We need to call it in." Harlow said nothing. She knelt and picked up the Compass from the place where it had fallen, but it was only metal now, dull and silent. The sigils were faint and ordinary. The needle hung true, pointing nowhere. She wrapped her fingers around it and felt the cool of brass and the echo of a thing that had wanted to be more. The station lights flicked back on with an apology, as if nothing had happened. At the far end, the maintenance door's lock turned, from the outside, the same neatness that had shut them in a moment before. Harlow stood. Her shoulders were squared. The Compass in her hand looked like an ordinary tool, but the truth lay in the way shadows pooled at the corners of it, and in the way the Market, far above or far below, had been used like a postbox. "Lock the exits," she said, low and without hesitation. "And get the coroner to the scene. Tell them to bring heat lamps." Jonah fumbled for his phone. Eva tucked her satchel under her arm and kept touching her ear where a curl had a habit of hiding. Harlow's watch lay quiet on her wrist. They had more questions than answers now, and some of those questions lived hungry under the platform where something had reached for brass. The Compass, for a moment, had been the mouth of that hunger. Someone else would call this overdose. Someone else would sign a report. Harlow knew better. She felt the shape of a pattern fold into place, shaped by artisans who worked in bone and brass and dark, and by hands that left no fingerprints. She looked at the man again. The smile remained, patient and small, like a clue folded into a lie. There was a sound from the dark, a little closer than before, like a footstep where nothing should step, and it was the last thing the platform offered them before the station lights dipped and the hum climbed back up, as if to remind them that they had only come to the edge of an answer, not to the bottom of it.
created_at"2026-02-19T12:45:40.206Z" 2/19/2026, 12:45:40 PM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency18018
moderation_latency(null)
generation_time68523
tokens_prompt4671
tokens_completion4608
native_tokens_prompt4157
native_tokens_completion5122
native_tokens_completion_images0
native_tokens_reasoning1280
native_tokens_cached0
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"
usage0.01128325
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_0493f66dfed6bacd01699705f451ec8196a09aba05bf3c6ab0"
is_byokfalse
latency163
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771505140-Cpw6H5chpza2xC9cl34N"
upstream_id"resp_0493f66dfed6bacd01699705f451ec8196a09aba05bf3c6ab0"
total_cost0.01128325
cache_discount(null)
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
adverbTagCount1
adverbTags
0"Eva said slowly [slowly]"
dialogueSentences50
tagDensity0.52
leniency1
rawRatio0.038
effectiveRatio0.038
98.39% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount3107
totalAiIsmAdverbs1
found
0
adverb"slowly"
count1
highlights
0"slowly"
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)
71.03% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount3107
totalAiIsms18
found
0
word"etched"
count1
1
word"scanned"
count1
2
word"whisper"
count1
3
word"weight"
count2
4
word"trembled"
count2
5
word"aligned"
count1
6
word"tracing"
count1
7
word"vibrated"
count1
8
word"silence"
count2
9
word"unspoken"
count1
10
word"flicked"
count2
11
word"pulsed"
count1
12
word"echo"
count1
13
word"the last thing"
count1
highlights
0"etched"
1"scanned"
2"whisper"
3"weight"
4"trembled"
5"aligned"
6"tracing"
7"vibrated"
8"silence"
9"unspoken"
10"flicked"
11"pulsed"
12"echo"
13"the last thing"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences204
matches(empty)
72.83% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount7
hedgeCount3
narrationSentences204
filterMatches
0"watch see"
1"watch"
2"look"
hedgeMatches
0"tried to"
1"tended to"
2"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences226
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen79
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords3101
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions28
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions96
wordCount2442
uniqueNames8
maxNameDensity1.31
worstName"Harlow"
maxWindowNameDensity3
worstWindowName"Harlow"
discoveredNames
Compass21
Ellen1
Eva12
Jonah22
Veil1
Market6
Morris1
Harlow32
persons
0"Compass"
1"Ellen"
2"Eva"
3"Jonah"
4"Market"
5"Morris"
6"Harlow"
places(empty)
globalScore0.845
windowScore0.667
15.77% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences149
glossingSentenceCount8
matches
0"sounded like a throat clearing"
1"felt like a countdown muffled inside cl"
2"not quite shadows"
3"not quite shadow, and it had fingers that ended in nothing you could name"
4"something like a laugh made the air stumble"
5"felt like an erasure"
6"looked like oil and smoke and old grief"
7"looked like an ordinary tool, but the tru"
71.01% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords1.29
wordCount3101
matches
0"not toward the back tunnel as Harlow had expected, but toward the maintenance door at the far end of the platform"
1"not from weather but from somewhere"
2"not at the door, but at Harlow, at the thin place between her ribs"
3"not to use the Compass but to hold it between her"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences226
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs76
mean40.8
std22.85
cv0.56
sampleLengths
036
131
245
333
486
554
632
727
836
975
1046
1130
1224
1376
1431
1538
164
1770
1840
1987
2050
21103
2238
2338
2474
258
2666
2722
2866
2971
3036
3116
3263
3350
345
3517
3659
3710
3835
3996
404
4167
4273
4352
4415
4538
4645
479
4847
4969
81.18% Passive voice overuse
Target: ≤2% passive sentences
passiveCount14
totalSentences204
matches
0"been jammed"
1"been interrupted"
2"been trained"
3"been used"
4"been turned"
5"been wronged"
6"been arranged"
7"been trained"
8"been invited"
9"been placed"
10"been used"
11"been made"
12"were squared"
13"been used"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs422
matches
0"was not displacing"
1"was breathing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount2
flaggedSentences3
totalSentences226
ratio0.013
matches
0"No needle track on the forearm under where Ellen had interrupted the sleeve; the plunger had been jammed in later."
1"She slid her torch along the body's sides and found the source of the radiating cold—small puncture marks in the soles of the shoes, tiny and neat, filled with a black resin that smelled faintly of iron and something sweet, like burning cloves."
2"The token that would admit entry had been absent; that made no sense if the Veil Market had been used as a gateway."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2448
adjectiveStacks0
stackExamples(empty)
adverbCount60
adverbRatio0.024509803921568627
lyAdverbCount15
lyAdverbRatio0.006127450980392157
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences226
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences226
mean13.72
std10.56
cv0.77
sampleLengths
036
116
215
39
423
54
69
74
822
97
109
1126
1223
138
1420
1524
166
176
1811
197
207
2125
2214
2313
249
2513
2614
273
2820
2925
3014
3113
327
3311
3411
3517
367
3723
382
3922
403
413
4218
4343
449
458
4623
475
4833
493
35.84% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats32
diversityRatio0.23008849557522124
totalSentences226
uniqueOpeners52
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences184
matches(empty)
ratio0
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount55
totalSentences184
matches
0"She pried the small brass"
1"He had a torch clenched"
2"He reached for the man's"
3"She crouched and scanned the"
4"She noted the layout in"
5"Her round glasses caught the"
6"She pushed a curl behind"
7"He wished he didn't have"
8"He pocketed the syringe, which"
9"She tapped the Compass face"
10"She worked instead."
11"Her fingers moved with the"
12"She slid her torch along"
13"She wore her watch with"
14"Her voice did not raise."
15"She had no time to"
16"She kept the memory close,"
17"He made the calls with"
18"Her round glasses moved, catching"
19"She let the torch rest"
ratio0.299
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount174
totalSentences184
matches
0"She pried the small brass"
1"Jonah asked, boots skidding in"
2"He had a torch clenched"
3"Harlow turned the Compass under"
4"The needle, thin and bright"
5"Verdigris stained its casing."
6"Someone had tried to hide"
7"He reached for the man's"
8"Harlow's voice was flat, disciplined"
9"She crouched and scanned the"
10"She noted the layout in"
11"The man's pupils were a"
12"Eva's voice came from the"
13"Her round glasses caught the"
14"She pushed a curl behind"
15"Jonah rubbed his chin"
16"He wished he didn't have"
17"Eva said slowly, careful like"
18"He pocketed the syringe, which"
19"Harlow kept looking."
ratio0.946
27.17% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences184
matches
0"Whoever had manufactured those marks"
ratio0.005
53.57% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences104
technicalSentenceCount13
matches
0"She pried the small brass thing from between the dead man's fingers and felt the cold of it through the leather of her glove, like a secret that had been keepin…"
1"The dust formed whisper-thin crescents around the man's shoes, as if dancers had been careful to avoid stepping near them."
2"There were eight sets of footprints beyond the dust ring, shallow and wide, as if the wearers had been moving on tiptoe while carrying weight."
3"She slid her torch along the body's sides and found the source of the radiating cold—small puncture marks in the soles of the shoes, tiny and neat, filled with …"
4"He made the calls with the unwilling speed of someone who preferred certainty to puzzles."
5"There was a faint ring of soot around the right temple that vanished under close inspection, as if someone had polished the residue away."
6"Her boots were silent on the dust, as if she'd learnt long ago to let floors tell their stories without trampling them."
7"He worked on the screws with hands that shook a little."
8"Harlow felt, in the place inside her where she kept decisions, a sliding memory of a partner she had lost to a wrong that had no forensics."
9"The maintenance door they had just opened slammed shut on its own and the lock clicked from outside with a neatness that felt personal."
10"The single shoe across the platform turned its toe toward them, as if someone had nudged it on purpose."
11"Something moved under the platform with the deliberate patience of an animal that had been waiting out storms."
12"On the platform, the dead man lay as if he had been dreaming, mouth set in that small, patient smile."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags26
uselessAdditionCount1
matches
0"Jonah shouted, but the command came hollow"
90.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags23
fancyCount3
fancyTags
0"Jonah whispered (whisper)"
1"Jonah shouted (shout)"
2"Jonah swallowed (swallow)"
dialogueSentences50
tagDensity0.46
leniency0.92
rawRatio0.13
effectiveRatio0.12
79.4490%