Run: 2026-02-19-01KHTYZ2AKAQK4S5N1BHRV1TT9

Run Details

Duration:
1m 9s
Cost:
$0.010003
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Romance genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</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 romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The door opened before she could get the chain off. Lucien stood in the narrow hallway like he owned its shadow, a tailored charcoal suit clinging to him the way secrets clung to his jaw. One of his eyes caught the strip light and burned amber, the other swallowed it whole. He held his cane casually, ivory handle catching the light like a grin. "You didn't knock," she said. "That would have been rude," he answered, stepping inside as if the flat belonged to him. The smell that hit her was rain and tobacco and something sweeter, old library book and danger. "May I?" She should have shut the door. She should have slammed it and buckled the chain and pretended she did not have a throat that tightened at the sight of him. Instead she let the door thud shut and leaned against it, fingers curled over the small crescent scar on her left wrist without thinking. "Why are you here, Lucien?" He folded his hands on the cane. The blade within it remained a secret for now. He looked at her the way a man might appraise a locked safe: measured, patient, certain he would find the weakness. "I came because you looked very small on that last photograph I saw," he said. She blinked. Her first instinct was to be amused; her second was to be furious. Both felt embarrassingly young. "You had no right," she said. "I had every right." He took another step toward the kitchen. Her life smelled of takeaway sauce and detergent, the bed still half-made, a delivery bag on the counter with chewed corners. He observed it all like a catalogue, and when he looked back at her his expression smoothed. "You left without a forwarding number." "I left without you," she replied. "That number is one reason why I'm alive, Lucien." He winced, just enough to prove he could still feel. "That was not a clean leave. I know. But you left with the wrong accusation pinned to my jacket. I had to—" "You had to run off and leave me," she cut in, flat and neatly aimed. The flat seemed to shrink with every syllable. "You left me to deal with Evan. You told me you would handle him and you disappeared." "You do not get to make the story so tidy," he said, and suddenly his voice carried a tiredness that belonged to someone who had been hauling a corpse up a hill for years. "You came to me with a knife and a bruise and the wrong name. I was compromised, Aurora. I could not afford to be seen with you." "Compromised," she repeated. The word tasted like betrayal. "Or coward." "Both," he admitted. "And I am sorry." The apology sounded like an antique coin, polished and rare. She wanted to keep it in her pocket, examine it, decide if it was real. Her throat felt thick. "Then apologise in a language I don't owe you," she said. "Stay five minutes. Take your hands off the cane for once. Or get out." His smile was polite, not indulgent. He let the cane rest against the cabinet and walked toward the battered sofa as if remembering which sofa belonged to which memory. "I did not come for an argument," he said. "I came because you are in trouble." She laughed, a short, bitter sound. "That's convenient." "It is inconvenient for me too." He sat, and the chair sighed under him. His fingers, long and careful, drummed a rhythm on the ivory. "Someone has been asking questions about you." She braced herself. She had gotten used to a life of small alarms: late rent notices, flatmates with noisier lives, an ex-boyfriend who should have been a cautionary tale and instead became a shadow that followed her into shops. This was a different bell. This bell was carved into bone. "Who?" she asked. Lucien's other eye darkened. "Evan is not the one following. He was a nuisance. This is someone older. Someone efficient." "Define efficient." "Not sentimental." He let the syllable hang. "Not human, in the strictest sense." The room tilted. She wanted to laugh again, to tell him she wasn't twelve anymore, that demon stories belonged in chapter books. Instead her heart took a small, stupid hop. She had let herself believe she was finally free of the mythic and the monstrous. She had stacks of research, yes, but also a job that required balancing damp boxes and three-hour shifts. She had learned to live with the world that did not consult legends before stepping on a foot. "You're saying I'm being watched by something supernatural," she said. "I am saying you should not be watched by anything, and yet someone is watching very carefully." He leaned forward. "They asked after your contacts. They asked about Cardiff. They asked for 'the woman who knows how to break contracts.'" She felt the scar on her wrist burn as if it wanted to tear the skin. The phrase rattled loose like a coin in a pocket. She had broken contracts, metaphorical and otherwise. Legal parlance clung to her even now, like oil you could not scrub out. "What do they want?" "Things you have, and things you do not know you have." He watched her face like a man watching a lock. "Information, names, a skill set. People like you are useful." She did not answer. She could not tell whether the chill in her spine came from the implication, or from the memory of him leaving. "You could have told me," she said finally, voice small. "I told you the truth that I could tell," he said. "I could not tell you the rest without endangering you." "Endangering me by leaving me here to be found," she shot back. Lucien opened his mouth, then closed it. For the first time since he had arrived, he looked tired enough to be human. "People were on my heels, Aurora. I left to draw them away. Did you think I wanted to leave you?" He stood, and when he moved close the flat seemed to rearrange itself to accommodate him. "Do you remember the night at the docks?" A sound like hands on glass hissed at the memory. She remembered the river pressing its cold face against her teeth, the way the world smelled of diesel and old promises. He remembered everything, she realised. He always had a remarkable memory for the wrong nights. "You left me with a cheque," she said. "You thought money would fix a bruise." "It was never about money." He stepped a breath closer so that she could see the tiny scar just beneath his left ear, the one he did not try to hide. "I sent it because I was scared what would happen if I stayed. I sent it because I was trying to build an exit for you." "An exit doesn't mean anything if it closes when you walk through it," she said. "There was more," he said. "I had to talk to people you do not want in your life. I had to make promises I cannot break. It was ugly. I thought I could keep you clean." "Keep me clean from you," she countered. He smiled at that, not unkindly. "I am not clean." "You're a fixer," she said. "You're a broker. You deal in dirt." "I also keep patients alive," he said. "And once, I wanted to keep you alive more than anything." That line made the room blur. She had imagined him wanting many things: power, coin, information. Desire had not always been one of them. When it was, it hurt, because it reminded her she had felt the same. "Why now?" she whispered. "Why not when you left? Why not when I needed you?" "Because I could not find you, and then I saw a photograph and realised I had failed." He held up the cane, a small, elegant punctuation. "Because I prefer to correct my mistakes." Her anger wavered. It was not pity; she had promised herself never to offer that. It was curiosity, thin and sharp. "Who is looking?" she asked again. He hesitated, and for one awful second his composure cracked. "The Marquis," he said finally. Aurora's laugh died before it reached the ceiling. "You're joking." "I do not joke," he replied. "He keeps records like a museum. He collects contracts and pieces of lives. He will bind anything to himself if it proves useful. He has been patient." The name had gravity. She had read the sort of things that made men like Lucien hold their breath: half-legendary figures who trafficked in oaths and blood. The Marquis sounded absurdly theatrical and exactly the sort of thing that would not be frivolous. "Why me?" she asked. "I'm not anyone's prize." "You are clever with contracts," Lucien said. "You understand bindings. You know loopholes. You will not sign away what you do not understand." Her mouth twisted. "You mean I'm valuable." "Yes," he said simply. "Valuable enough to spend time looking for." The flat felt suspended like a drowning house in a boat. Her pulse hammered against her teeth. She thought of Evan, of cold hands on her arm, of the nights she had stayed awake thinking about what could happen if someone pulled a thread she did not know to tie. "Then take me somewhere safe," she said. "Or tell me how to make myself blind." "I cannot make you blind to everything," he said. "But I can offer you an umbrella under which to stand. For now." She wanted to say no. She wanted to refuse him everything. Instead she surprised herself by walking to the small collection of jars on the windowsill, jars of receipts and rosary beads and a ticket stub to a museum she never visited. She picked up a matchbox, fingers steady. "If I go with you," she said, "we do it my way." He inclined his head, a fox listening. "When have I ever had the patience for another way?" She struck a match and the flame flared, numbers and shadows suddenly warm. For a heartbeat he watched the light, and she understood with a jolt that this was the dangerous Lucien: the man who watched, the man who kept promises by breaking them. "Fine," she said. "But we leave in ten minutes. I grab my coat, whatever cash I have in my shoe, and my files." "And the files?" She thumped the top drawer where she kept research notes. "I decide what's important." "And Evan?" She hesitated. She had hoped he would answer for her, like he always had. He did not. "You will deal with him," she said, voice hard. "If he's a problem, you fix it properly." He smiled then, small and wolfish. "I said I would." The kettle on the hob began to scream. A rhythm of footsteps padded across the stair well outside her front door, the sound of boots that did not belong to anyone who had ever been invited in. The flat's lights flickered, briefly, as if someone had breathed on the wiring. Lucien's eyes narrowed. He moved without grace, with purpose, hand closing on the cane. "They are not patient tonight," he said. There was a sound at the door, a scraping like a fingernail over old wood. Then the chain rattled as if the lock were being tested. She reached for the crescent scar on her wrist, fingers clutching it like a compass. Lucien's other hand brushed her knuckles, warm and certain. "Stay behind me," he said. She wanted to refuse. She wanted to push past him, shout, slam the door, run. Instead she stepped back, letting him fall into the space between threshold and kettle steam. He planted his cane, smiled a small, terrible smile, and the blade within it whispered. The handle caught the light, sharp and certain. The chain shook again, harder, like someone impatient with polite refusals. Voices—three of them—seeped under the door, low and threaded with something metallic that made the hairs at the base of her neck stand up. "Lucien Moreau?" asked the nearest voice, male, the accent neat, practiced. "We know he's in there. Open up, monsieur, and we will be gentlemen." "Tell them I'm not a gentleman," Lucien said softly. The lock surrendered with a click. The door flew inward on a shoulder she did not know, and cold air rolled into the flat carrying a scent like iron and orchard rot. Two men filled the doorway, their jackets cut from the same dark cloth, faces obscured by scarves. Between them, in the corridor like a black stain, something moved that did not belong to human geometry. Aurora's laugh caught in her throat. The room contracted; Ten minutes disappeared into the floorboards. Lucien stepped forward, cane raised, blade gleaming in the flat light like a small, promise-turned-weapon. "Stay back," he ordered, voice even, carrying the same weight as judgement. "Lucien Moreau," the second man said, voice like gravel. "You owe a favour." He did not answer. He had never been a man who did favours cheaply. The dark thing in the corridor shifted, and where its shadow touched the floor the wood seemed to wrinkle. The air tasted of pennies. Vera's kettle shrieked a long high note. Pigeons somewhere collided with brick. Time gathered itself behind the two of them like a waiting audience. Lucien put himself between Aurora and the doorway, and the blade in his cane slid free with a sound like silk tearing. The man at the door smiled in a way that did not involve his eyes. "We will be gentle," he said, and then he pushed forward.
created_at"2026-02-19T12:45:58.492Z" 2/19/2026, 12:45:58 PM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3198
moderation_latency(null)
generation_time68651
tokens_prompt4556
tokens_completion4274
native_tokens_prompt4075
native_tokens_completion4492
native_tokens_completion_images0
native_tokens_reasoning1600
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"
usage0.01000275
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_00c47bc01c2511040169970606966c819580041ece1ea0e5db"
is_byokfalse
latency159
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771505158-iLrsGlAnxH0VnvXrXOAb"
upstream_id"resp_00c47bc01c2511040169970606966c819580041ece1ea0e5db"
total_cost0.01000275
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
97.96% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags49
adverbTagCount5
adverbTags
0"she said finally [finally]"
1"she asked again [again]"
2"he said finally [finally]"
3"he said simply [simply]"
4"Lucien said softly [softly]"
dialogueSentences95
tagDensity0.516
leniency1
rawRatio0.102
effectiveRatio0.102
86.92% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2294
totalAiIsmAdverbs6
found
0
adverb"very"
count2
1
adverb"suddenly"
count2
2
adverb"carefully"
count1
3
adverb"softly"
count1
highlights
0"very"
1"suddenly"
2"carefully"
3"softly"
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)
69.49% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2294
totalAiIsms14
found
0
word"measured"
count1
1
word"efficient"
count2
2
word"chill"
count1
3
word"implication"
count1
4
word"remarkable"
count1
5
word"desire"
count1
6
word"wavered"
count1
7
word"pulse"
count1
8
word"footsteps"
count1
9
word"flickered"
count1
10
word"gleaming"
count1
11
word"weight"
count1
12
word"silk"
count1
highlights
0"measured"
1"efficient"
2"chill"
3"implication"
4"remarkable"
5"desire"
6"wavered"
7"pulse"
8"footsteps"
9"flickered"
10"gleaming"
11"weight"
12"silk"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences159
matches(empty)
88.95% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount5
narrationSentences159
filterMatches
0"decide"
hedgeMatches
0"seemed to"
1"try to"
2"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences205
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
totalWords2287
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions51
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions17
wordCount1549
uniqueNames5
maxNameDensity0.71
worstName"Lucien"
maxWindowNameDensity1.5
worstWindowName"Lucien"
discoveredNames
Lucien11
Aurora3
Marquis1
Evan1
Ten1
persons
0"Lucien"
1"Aurora"
2"Marquis"
3"Evan"
places(empty)
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences102
glossingSentenceCount2
matches
0"sounded like an antique coin, polished and"
1"as if remembering which sofa belonged to which memory"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2287
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences205
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs100
mean22.87
std17.18
cv0.751
sampleLengths
010
154
25
335
454
55
637
715
819
96
1055
1115
1232
1340
1461
1510
167
1729
1825
1929
2016
216
222
2332
2450
253
264
2716
282
2913
3081
3110
3240
3347
344
3531
3625
3710
3821
3912
4022
4144
4246
4315
4457
4515
4636
477
4810
4912
98.64% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences159
matches
0"was carved"
1"been invited"
2"being tested"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs317
matches(empty)
87.11% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount3
flaggedSentences4
totalSentences205
ratio0.02
matches
0"Her first instinct was to be amused; her second was to be furious."
1"It was not pity; she had promised herself never to offer that."
2"Voices—three of them—seeped under the door, low and threaded with something metallic that made the hairs at the base of her neck stand up."
3"The room contracted; Ten minutes disappeared into the floorboards."
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1556
adjectiveStacks2
stackExamples
0"locked safe: measured, patient,"
1"small, promise-turned-weapon."
adverbCount49
adverbRatio0.031491002570694086
lyAdverbCount15
lyAdverbRatio0.009640102827763496
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences205
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences205
mean11.16
std7.56
cv0.678
sampleLengths
010
125
216
313
45
516
617
72
86
924
1024
115
127
139
1421
1515
162
1713
184
196
2011
2121
2217
236
246
259
2610
2722
2815
298
3017
3134
3227
333
345
352
363
374
3810
3915
404
4111
4214
436
4423
459
467
476
482
4914
37.80% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats25
diversityRatio0.2731707317073171
totalSentences205
uniqueOpeners56
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences130
matches
0"Instead she let the door"
1"Instead her heart took a"
2"Instead she surprised herself by"
3"Then the chain rattled as"
4"Instead she stepped back, letting"
ratio0.038
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount73
totalSentences130
matches
0"He held his cane casually,"
1"he answered, stepping inside as"
2"She should have shut the"
3"She should have slammed it"
4"He folded his hands on"
5"He looked at her the"
6"Her first instinct was to"
7"He took another step toward"
8"Her life smelled of takeaway"
9"He observed it all like"
10"He winced, just enough to"
11"she cut in, flat and"
12"he said, and suddenly his"
13"She wanted to keep it"
14"Her throat felt thick."
15"His smile was polite, not"
16"He let the cane rest"
17"She laughed, a short, bitter"
18"He sat, and the chair"
19"His fingers, long and careful,"
ratio0.562
13.85% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount116
totalSentences130
matches
0"The door opened before she"
1"Lucien stood in the narrow"
2"He held his cane casually,"
3"he answered, stepping inside as"
4"The smell that hit her"
5"She should have shut the"
6"She should have slammed it"
7"He folded his hands on"
8"The blade within it remained"
9"He looked at her the"
10"Her first instinct was to"
11"Both felt embarrassingly young."
12"He took another step toward"
13"Her life smelled of takeaway"
14"He observed it all like"
15"He winced, just enough to"
16"she cut in, flat and"
17"The flat seemed to shrink"
18"he said, and suddenly his"
19"The word tasted like betrayal."
ratio0.892
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences130
matches(empty)
ratio0
50.69% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences62
technicalSentenceCount8
matches
0"The smell that hit her was rain and tobacco and something sweeter, old library book and danger."
1"He let the cane rest against the cabinet and walked toward the battered sofa as if remembering which sofa belonged to which memory."
2"She had gotten used to a life of small alarms: late rent notices, flatmates with noisier lives, an ex-boyfriend who should have been a cautionary tale and inste…"
3"She felt the scar on her wrist burn as if it wanted to tear the skin."
4"She had read the sort of things that made men like Lucien hold their breath: half-legendary figures who trafficked in oaths and blood."
5"The Marquis sounded absurdly theatrical and exactly the sort of thing that would not be frivolous."
6"For a heartbeat he watched the light, and she understood with a jolt that this was the dangerous Lucien: the man who watched, the man who kept promises by break…"
7"A rhythm of footsteps padded across the stair well outside her front door, the sound of boots that did not belong to anyone who had ever been invited in."
94.39% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags49
uselessAdditionCount3
matches
0"He sat, and the chair sighed under him"
1"she said finally, voice small"
2"she said, voice hard"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags38
fancyCount4
fancyTags
0"she repeated (repeat)"
1"he admitted (admit)"
2"she whispered (whisper)"
3"he ordered (order)"
dialogueSentences95
tagDensity0.4
leniency0.8
rawRatio0.105
effectiveRatio0.084
83.7932%