Run: 2026-02-19-01KHTZ0F5ZJH369YKMZ48V9FMR

Run Details

Duration:
1m 9s
Cost:
$0.009931
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 chain rattled before she finished yanking it free, the bolt snapping like a small insult. Aurora shoved the door open and nearly fell into him. Lucien stood framed by the stairwell light, immaculate even when he had no right to be. Tailored charcoal suit, hair slicked back to a pale blade, one amber eye and one black like two coins from different currencies. His cane prodded the mat, ivory handle turned just so, and under the cuff of his sleeve a dark smudge stained the fabric. "Punctual," he said, as if that explained anything. "You've got a nerve," she answered, locking the chain with a thumb that trembled despite her telling herself it would not. Ptolemy, amber eyes like Lucien's lighter one, leapt from a pile of books and threaded himself between her ankles, tail puffed. Lucien lowered his voice. "Aurora." The name landed differently in his mouth than it had in the past. Less familiarity, more measured tasting. His French rolled over the vowels, careful, elegant. He did not smile. "How—" She stopped, because the question unspooled into accusation if she finished. How did he know where to find her? How did he walk up three flights to Eva's flat and stand cold and composed as if he had not vanished? He had walked away without an explanation six months ago. Vanished. No forwarding address. No courtesy. "You look hunted," he said instead, as if offering a diagnosis would excuse his disappearance. "Funny thing, being hunted." She shoved the door with her hip, letting it thunk into the frame. "You taught me how to lock doors properly." "Ptolemy recognizes me." His fingers brushed the cat's fur; the tabby made a small noise and settled against his leg, as if deciding loyalties were negotiable. Lucien's touch was practiced, gentle enough to be disarming. "And I have a key." Her laugh was more bark than sound. "You have a key. Of course you do." Lucien took a half-step, respecting the chain. "I tried sending a message." "You did." She could have said more about the empty inboxes, the vanished texts. Instead she watched his eyes. The black pupil widened slightly, an almost imperceptible change, as if something in his gaze kept tracking something beyond her shoulder. "You didn't leave a note." "I left evidence." He drew his cane across the threshold, a delicate scraping that drew her attention. The ivory handle opened on a hinge and revealed a thin blade. It flashed in the stairlight like a promise. He did not brandish it. He closed it again. Her mouth went dry. "You're always dramatic, Lucien." "Only when the circumstances warrant it." He folded his hands at his waist, one hand resting on the cane. "May I come in?" She wanted to slam the door. Lock every deadbolt, call Eva, call Silas, call anyone who could make Lucien go away. Instead, the knock of a remembered warmth—his cologne, something like cedar and cold smoke—pressed behind her eyes. She stepped back. "One foot inside and I'm calling Eva." He smiled, the kind that had toppled a dozen rules in better evenings. "Your friend would make a fuss. I prefer to avoid unnecessary theatrics." She closed the door enough for the chain to click, the flat suddenly smaller, full of sunlight caught in dust. Books teetered in every corner, scrolls like sloppy flags of study. Ptolemy rubbed Lucien's calf and then, with the behaviour of someone who did not approve but tolerated the inevitable, jumped onto a stack and surveyed the room. Lucien's gaze ran over the cramped space. "You made good use of Eva's generosity." "You're not here to compliment my decorating." She folded her arms. "So why are you here? Business? Trouble? A whim?" "Bit of all three." He turned a fraction so that she saw the cuff again. The fabric there was darker, the stain now obvious, a fingerprint of something that did not belong in a suit store. "You look tired." "From being abandoned," she said. The words were neat, precise. "From moving between flats. From waiting for a person who decided he had more important things than the woman he'd been sleeping with." Lucien's eyes flicked, no denial, no confession. "Sleeping with, not sleeping with, were careless words," he said. "I did not intend to leave as I did. I intended to be back in a week." "They always say that." "In my defence, time in my business does not obey simple calendars." He tipped his head. "I should apologise." "Should." She let the single word hang. It felt like a bargaining chip. He left the apology there, but his posture shifted. Alarm tightened something behind his amber eye. "Someone followed me here," he said carefully. "Not the sort that knocks once and is civil." The books on the nearest shelf, a precarious lean of Tolkien and a battered occult textbook Eva swore by, trembled. Aurora's stomach dropped as if she had walked off a curb. "Followed you? From where?" "From places that exist between squares of reality, if one cares for metaphors." He closed his fingers on the cane, knuckles white. "They asked questions about you. About where you might be." For a moment no one spoke. Ptolemy screeched, a sharp protest, and batted at Lucien's trouser leg. He wore no arrogance about danger now; he wore caution. "Why would they care about me?" Her voice sounded small even to herself. "I'm not important in those circles." "People are instruments," Lucien said, almost conversational. "A song need not be famous to be necessary. You are useful to them because of your attachments." Her jaw clenched. "So you come back to warn me after leaving me alone to a dozen attachments." "I came back because they were coming." He stepped further into the flat, the cane tapping a slow, precise rhythm. The ivory handle caught at the light, a small beacon. "I wanted to remove you before they could. I miscalculated the timetable." "You miscalculated everything, apparently." The anger flared warm and honest, a useful fuel. "You vanished without a word, Lucien. I took a job. I slept on the sofa upstairs. I learned how to take the late shift at Golden Empress. I thought the best of it, because I have always preferred the best of people." "You preferred the best of me," he corrected, quietly. "That was my fault." The silence after that comment was a living thing. She could remember nights where his whisper had slid across skin, promises folded into the space between breaths. She kept the memory the way you kept a cut, visible and tinged with white, a small crescent-shaped scar on her wrist, where a childhood mistake had left her with a map of pain. She had not asked him if his leaving hurt. She had assumed silence meant safety. "But you left," she said. "You left when Evan started showing up more. You left when I needed someone to say no for me." Lucien's face did not harden. It was an unsettling stillness. "I did not think you needed me to say no. I thought you needed me to create distance." "Distance is not the same as protection," she said. "No." He looked at her hands, at the scar on her wrist, as if he could read decisions in the pale crescent. "It was the wrong kind of distance." They were close enough now that she could see the faint tremor in his jaw, a small human break in his otherwise composed façade. He had a way of saying things so they seemed inevitable and then being wrong about the shape of consequences. A shout from the stairwell cut across the room, jolting like a slap. Someone banged on the front door twice, impatient, hard. The sound reverberated through the thin floors as if the whole building had tried to cough something up. "Open up, Aurora!" The voice carried a local edge, anger threaded with authority. "Open up now!" Aurora's heart banged to match the door. She took a step toward the corridor, every instinct telling her to run the other way, to climb the stairs and vanish into the anonymity she'd learned. Lucien's hand closed on her elbow, gentle but unyielding. "Stay inside," he said. "Who's that?" Her voice pitched high on the consonant. Fear had a squeak in it. "Company I did not expect to be polite." Lucien's hand tightened a fraction. He moved his cane in a motion so small it could have been a flourish, the end of the handle sliding across his palm until his fingers found the hidden hinge. He did not draw the blade; he did not show threat. He calibrated the room with an assassin's eye, seeing the bookshelves, the window, the satellite of paper strewn like debris. Another bang hit the door, heavier, and muffled curses followed. "Aurora Carter, you have thirty seconds." Lucien's amber eye darkened. He stepped between her and the door, placing himself in a line she recognised from a dozen bad nights—protective, precise. "You do not owe them anything," he said to her, almost intimate. "Not if you are not choosing the obligation." "I'm not choosing." Her laugh this time was broken. "I didn't choose anything for months." He did not answer. He moved to the kitchen counter, where a kettle boiled, a little steam ghosting the air. He flicked the kettle off with the tip of his cane. The small sound was absurdly domestic, a small anchor. "Who wants me?" she asked, as if asking might make the thing smaller. A pause from the hall, a rustle of paper. "We know you're there, Ms Carter," the voice called, close enough now to be almost friendly. "Don't make us climb." Lucien's hand touched the blade with a small practiced movement, not to draw it but to make sure the mechanism still worked. He spoke without looking at the door. "Three deadbolts slow you down. They do not stop those who know how to count." "Then they're not just here to bother me," Aurora said, anger refilling the empty places fear had hollowed out. "They're here to take something." "Or someone," he corrected. The corridor light shifted. Footsteps on the stairs above, quick and impatient, like soldiers testing a rumour. Ptolemy launched himself at the door, nails skittering across wood. The bang echoed as something hit the door again, harder, a sound that split the space between them like thunder across a tightrope. Lucien's voice smoothed, the professional layer sliding into place. "Eva's cat is very noisy. He will have to be quiet." "He bites." Aurora's words were sharp, because how else do you fight someone with two hearts and a missing conscience but with simple truths? "Good." He smiled then, the first real thing since he'd arrived, and it did something to the simple room, like opening a window that had been kept shut. "If they want something from you, they will find resistance a most inconvenient discovery." The doorknob rattled, the chain straining. A low metallic scrape sounded, followed by a small, brittle cracking. "Open up, Aurora!" the voice bellowed. "One last time." Lucien's cane moved. The ivory handle clicked, a tiny, unseen threat. He did not ask for permission. He stepped forward and set himself against the door, shoulder braced, and when the deadbolt finally gave with the resolute sound of wrongness, he did not wait for the explosion of entry. "Behind me," he said. Aurora's breath caught. She moved without thinking, a reflex older than caution, and slipped behind his shoulder. Ptolemy hissed and disappeared under a pile of clothes. The corridor light threw long, nervous shadows that looked like fingers. The door slammed inward with a force that blurred the picture on the nearest wall. A shape filled the threshold, and for a second she could see only the silhouette of a man: broad shoulders, a coat that had seen worse things than London. A second figure shoved past him, smaller, and something metallic glinted in its hand. Lucien's cane came up with the speed of a well-practised blade, a clean arc that met the intruder's shoulder. The first man swore, stumbled, and a ragged sound tore from the second like surprise and anger braided. "Police!" someone shouted from the landing, a panicked voice she did not recognise, because it was not police at all, but rehearsed menace. Lucien's other eye, the black one, was a slit. He did not seem surprised. He seemed, in some way, to have been waiting exactly for this moment. He looked at her then, close enough that she could see the barest fleck of crimson at his lip, the smear on his cuff. No apology. No easy explanations. Only an intensity that had the force of a promise and the weight of a threat. "Stay behind me," he said. The intruders pushed forward, and the flat's single light made ordinary things monstrous. Books became walls, paper became razor. Someone swore, a sound like breaking glass, and the blade in the smaller man's hand flashed. She realised with a clarity like cold glass that the night was crossing a line it had been circling for months. Lucien's return had not been a reunion. It had been a door left open. He didn't wait to explain. He moved, the cane an extension of himself, and struck, and the room inhaled.
created_at"2026-02-19T12:46:44.423Z" 2/19/2026, 12:46:44 PM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency30101
moderation_latency(null)
generation_time68537
tokens_prompt4556
tokens_completion3347
native_tokens_prompt4075
native_tokens_completion4888
native_tokens_completion_images0
native_tokens_reasoning1984
native_tokens_cached3840
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"
usage0.00993075
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_06c4c945371c70fd016997063481988193ba466bd3f19fe1fe"
is_byokfalse
latency125
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771505204-lwA43sbzq30I8gMnOP4h"
upstream_id"resp_06c4c945371c70fd016997063481988193ba466bd3f19fe1fe"
total_cost0.00993075
cache_discount0.000864
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
totalTags40
adverbTagCount4
adverbTags
0"he said instead [instead]"
1"he said carefully [carefully]"
2"He stepped further [further]"
3"He smiled then [then]"
dialogueSentences80
tagDensity0.5
leniency1
rawRatio0.1
effectiveRatio0.1
91.06% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2237
totalAiIsmAdverbs4
found
0
adverb"slightly"
count1
1
adverb"suddenly"
count1
2
adverb"carefully"
count1
3
adverb"very"
count1
highlights
0"slightly"
1"suddenly"
2"carefully"
3"very"
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)
57.53% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2237
totalAiIsms19
found
0
word"trembled"
count2
1
word"measured"
count1
2
word"warmth"
count1
3
word"flicked"
count2
4
word"stomach"
count1
5
word"jaw clenched"
count1
6
word"beacon"
count1
7
word"silence"
count2
8
word"whisper"
count1
9
word"tinged"
count1
10
word"reverberated"
count1
11
word"calibrated"
count1
12
word"footsteps"
count1
13
word"echoed"
count1
14
word"intensity"
count1
15
word"weight"
count1
highlights
0"trembled"
1"measured"
2"warmth"
3"flicked"
4"stomach"
5"jaw clenched"
6"beacon"
7"silence"
8"whisper"
9"tinged"
10"reverberated"
11"calibrated"
12"footsteps"
13"echoed"
14"intensity"
15"weight"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"stomach dropped/sank"
count1
1
label"jaw/fists clenched"
count1
highlights
0"stomach dropped"
1"jaw clenched"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences154
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences154
filterMatches
0"know"
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences193
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen42
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2231
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions29
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions40
wordCount1696
uniqueNames9
maxNameDensity1.24
worstName"Lucien"
maxWindowNameDensity2.5
worstWindowName"Lucien"
discoveredNames
Ptolemy5
Lucien21
French1
Eva3
Silas1
Tolkien1
Aurora6
Fear1
London1
persons
0"Ptolemy"
1"Lucien"
2"French"
3"Eva"
4"Silas"
5"Aurora"
6"Fear"
places
0"London"
globalScore0.881
windowScore0.833
19.57% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences115
glossingSentenceCount6
matches
0"as if offering a diagnosis would excuse his disappearance"
1"as if deciding loyalties were negotiable"
2"something like cedar and cold smoke—pressed"
3"felt like a bargaining chip"
4"seemed inevitable and then being wrong about the shape of consequences"
5"looked like fingers"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.448
wordCount2231
matches
0"not to draw it but to make sure the mechanism still worked"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences193
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs76
mean29.36
std16.74
cv0.57
sampleLengths
026
161
28
342
45
530
657
715
825
940
1015
1112
1245
1346
148
1523
1648
1725
1858
1914
2020
2139
2233
2334
244
2519
2613
2732
2835
2932
3027
3119
3225
3318
3442
3555
3613
3776
3824
3928
409
4129
4244
4340
4416
4543
464
4715
4875
4916
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences154
matches
0"was practiced"
1"been kept"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs301
matches
0"was crossing"
68.84% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount3
flaggedSentences5
totalSentences193
ratio0.026
matches
0"\"Ptolemy recognizes me.\" His fingers brushed the cat's fur; the tabby made a small noise and settled against his leg, as if deciding loyalties were negotiable."
1"Instead, the knock of a remembered warmth—his cologne, something like cedar and cold smoke—pressed behind her eyes."
2"He wore no arrogance about danger now; he wore caution."
3"He did not draw the blade; he did not show threat."
4"He stepped between her and the door, placing himself in a line she recognised from a dozen bad nights—protective, precise."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1702
adjectiveStacks1
stackExamples
0"small crescent-shaped scar"
adverbCount52
adverbRatio0.03055229142185664
lyAdverbCount12
lyAdverbRatio0.007050528789659225
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences193
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences193
mean11.56
std7.3
cv0.632
sampleLengths
016
110
216
322
423
58
621
721
84
91
1013
115
128
134
1412
158
1621
1710
181
193
202
2115
2217
238
2426
259
265
277
288
297
305
3114
325
3321
345
3517
3612
378
385
394
404
414
4219
434
446
4515
4617
473
487
4913
40.76% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats23
diversityRatio0.3160621761658031
totalSentences193
uniqueOpeners61
69.93% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences143
matches
0"Instead she watched his eyes."
1"Instead, the knock of a"
2"Only an intensity that had"
ratio0.021
32.59% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount67
totalSentences143
matches
0"His cane prodded the mat,"
1"he said, as if that"
2"she answered, locking the chain"
3"His French rolled over the"
4"He did not smile."
5"She stopped, because the question"
6"He had walked away without"
7"he said instead, as if"
8"She shoved the door with"
9"His fingers brushed the cat's"
10"Her laugh was more bark"
11"She could have said more"
12"He drew his cane across"
13"It flashed in the stairlight"
14"He did not brandish it."
15"He closed it again."
16"Her mouth went dry."
17"He folded his hands at"
18"She wanted to slam the"
19"She stepped back."
ratio0.469
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount133
totalSentences143
matches
0"The chain rattled before she"
1"Aurora shoved the door open"
2"Lucien stood framed by the"
3"His cane prodded the mat,"
4"he said, as if that"
5"she answered, locking the chain"
6"Ptolemy, amber eyes like Lucien's"
7"Lucien lowered his voice."
8"The name landed differently in"
9"Less familiarity, more measured tasting."
10"His French rolled over the"
11"He did not smile."
12"She stopped, because the question"
13"He had walked away without"
14"he said instead, as if"
15"She shoved the door with"
16"His fingers brushed the cat's"
17"Lucien's touch was practiced, gentle"
18"Her laugh was more bark"
19"Lucien took a half-step, respecting"
ratio0.93
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences143
matches(empty)
ratio0
80.20% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences57
technicalSentenceCount5
matches
0"The black pupil widened slightly, an almost imperceptible change, as if something in his gaze kept tracking something beyond her shoulder."
1"Ptolemy rubbed Lucien's calf and then, with the behaviour of someone who did not approve but tolerated the inevitable, jumped onto a stack and surveyed the room…"
2"The sound reverberated through the thin floors as if the whole building had tried to cough something up."
3"A shape filled the threshold, and for a second she could see only the silhouette of a man: broad shoulders, a coat that had seen worse things than London."
4"Lucien's cane came up with the speed of a well-practised blade, a clean arc that met the intruder's shoulder."
37.50% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags40
uselessAdditionCount7
matches
0"he said, as if that explained anything"
1"She stopped, because the question unspooled into accusation if she finished"
2"he said instead, as if offering a diagnosis would excuse his disappearance"
3"His fingers brushed, as if deciding loyalties were negotiable"
4"He stepped further, the cane tapping a slow, precise rhythm"
5"he corrected, quietly"
6"she asked, as if asking might make the thing smaller"
87.50% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags21
fancyCount5
fancyTags
0"She could (could)"
1"he corrected (correct)"
2"he corrected (correct)"
3"the voice bellowed (bellow)"
4"someone shouted (shout)"
dialogueSentences80
tagDensity0.263
leniency0.525
rawRatio0.238
effectiveRatio0.125
77.6491%