Run: 2026-02-19-01KHTZ1QT2KS82JKSG8NEM37JG

Run Details

Duration:
56.4s
Cost:
$0.009525
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Thriller genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
He caught the flare of her coat and the sound of boots striking puddles, then something jumped the metal grate and swallowed him. Harlow Quinn did not falter. She planted her shoulder into the rusted barrier, slipped the strap of her shoulder bag under her arm like a soldier bracing for contact, and dove through the half-open gap. The rain's residue streaked the neon below, a green smear that wanted to tell her names. Her left hand flashed her worn leather watch, thumb tapping the glass without thinking, counting heartbeats instead of time. He threaded between delivery bikes, skirted a damp table of discarded menus, and pushed into the doorway under the distinctive green neon sign. The Raven's Nest exhaled a warm, cigarette-and-whiskey breath that smelled of smoke and old secrets. People turned. Glass chimed. He slid past the bar, hands low, and disappeared behind a shelf of dog-eared maps and black-and-white photographs. She moved like someone who had practiced violence into habit. Her jaw set sharp, shoulders squared with military precision, she crossed the threshold and let the room flow into her instead of the other way around. Names on the walls watched her. The bar's chatter thinned like breath leaving a room as patrons noticed the chase and then decided, very loudly, not to be involved. A hand rose in a gesture of warning, then slid down. The back shelf sagged as if on cue. Books shuffled, hinges worried, and a narrow passage opened between the volumes. He vanished through it. Quinn did not hesitate. She shoved past the books, knocking a pamphlet loose that slapped the floor like a small, wet bird. Books rattled. The secret room smelled like mould and old gin. A single bare bulb swung, painting the faces of three men around a low table. One folded his hands without looking up. Another reached under the table and drew something that caught the light. You could meet the Veil Market in ways that made other men nervous. This was not one of them. A trapdoor sat at the far end of the room, half-hidden beneath a tattered rug. The man with the object in his hand tapped it against his palm. Bone. Old bone, polished to a dull bone colour. The token glinted. That was the entry requirement. She had read the file on the Veil Market once, late, when she thought detective work lacked the appropriate darkness. It moved every full moon. It lived beneath a Tube station. It accepted bone tokens. It sold things that should never be listed. Her logical brain supplied caution. Her left hand whispered against her watch again. Her partner's file slipped under her fingers in memory, a loose, frayed thing that never stopped pricking. DS Morris three years gone, the case closed with an unpleasant finality, the kind that left an outline you could never fill in. Something about the way he had died tasted wrong in her mouth like half-chewed metal. She had been close then, too close. She stayed close now. The man with the token glanced up. He wore a hood. He knew she was there. He smiled without humour. "We do not like noise," he said. The voice came soft, careful. The words landed like a blade that had been wrapped in velvet. "Names," she said. He lifted the token and let it spin. The bone caught the bare bulb and threw off a sliver of light that landed on Harlow's cheekbone, on the sharp line of her jaw. The room tilted tiny degrees into menace. The man flicked a hidden latch at the edge of the trapdoor. A metal ladder groaned as it extended. Damp air breathed up from below, colder and older than anything above ground, and carried with it a smell of copper and something sweet she could not name. Harlow inhaled. Her teeth wanted to grind. "You're a policeman," he said. "Metropolitan, yes." She did not say Detective. The word tasted too soft in this room. He shrugged, a lazy, indifferent motion. "We do not admit policemen. Bad for business." She stepped closer. Her boots scuffed the rug. "You were followed. I am taking a statement." The men around the table laughed, small and surprised. The man with the bone token looked to his companions as if to make sure they had the same map in their eyes. He pushed the token into a small brass plate mounted at the trapdoor's edge. It sank, and the plate swallowed it like a mouth closing. There was a click, mechanical and old. The ladder rattled. A gust of subterranean air poured up the ladder and made the bulb above her swing, dust spinning like tiny planets. For a beat, panic tried to unfurl inside her. She tightened her grip on the strap of her bag. The air below smelled of iron. Blood, recent, and something else, something older than blood. "Go home," the man advised in a tone that was almost pity. Harlow's hand felt for the badge under her coat, finger tracing the cool metal. She kept it there and did not show. Everything she had on this case was unofficial now. No paperwork, no back-up. Good. Bad. Both things were simple words that had nothing to do with the decision in front of her. The suspect had gone below. The suspect had a token. The market did not want policemen. Her choices arranged themselves in quick geometry: walk away and follow through legal channels later, risk losing him; force her way and become the intruder; or manipulate entry by finding a proxy. Tomás Herrera stepped from the shadow like an answer she had not expected and did not want. He had his sleeves rolled, a familiar scar dividing skin on his left forearm, and the Saint Christopher medallion at his throat shone dull and saintly. He had the kind of hands that were too used to kindness and quick to hide it when asked. "Harlow," he said, as if they had ever been friends who simply fell out of touch. She had seen him once before, patching a ribcage in a back alley three years ago, the way his fingers moved like a surgeon and a thief at once. The police file called him an ex-paramedic with an expired licence. The rest of London had called him a rumour. "You shouldn't be here," she said. "You shouldn't be asking permission either," he said. "Come down for a look. It's not the sort of place to miss." He was not smiling. The medallion hung low against his chest. She noted, uselessly, the scar on his forearm and the way his voice carried a warmth like poured molasses. "Name your price," she said. He spread his hands, palms up. "No price, just acknowledgement. For some of us, the market keeps things from bleeding into the wrong places." "Wrong places already have a way of coming back to people's kitchens," she said. Someone behind him spat on the floor. The man who had admitted the token, the hooded one, picked up the ladder by its sides and began to descend. The crowd moved, making a gap like a wave pulling back from a reef. The staircase swallowed his knees. His shoulders dipped. He reached the lower darkness and did not look back. Harlow stepped forward. The floor smelled hotter now, or maybe it was the squeezed heat of bodies. The trapdoor offered a ladder worn smooth by many hands, not uniform. The metal was cold under her palms. She ran a quick inspection with practised fingers. No trip wire. Not the sort that would ruin your day anyway. Tomás watched her climb, his eyes like a question mark. He let his fingers flick her bag strap, a small, private reassurance. She did not feel reassured. "You have a choice," he said once they were both half the way down. "This market has rules we honour out of fear more than respect." "Rules change the minute someone decides not to honour them," she said. He made a small noise that might have been a laugh. "You of all people should have learned that three years ago." Her teeth chipped at his phrase. She did not answer. The ladder descended into a throat of stone and script, light thinning into a ribbon that shrugged into darkness and then opened into the station. Rotting posters clung to the tiles like old skin. The platform had been emptied of tracks and given over to stalls draped in cloths, glass cabinets, cages, and an assortment of goods that breathed like animals. Someone sold bottled whispers, their labels written in a quick hand she did not know. A baker slid a tray of something that looked like pastry but hummed when touched. A woman in multiple scarves sold jars of black water. The market itself moved with a momentum separate from the people in it. People sold things that could be used to hurt, to fix, to barter souls for favours and favours for blood. It smelled of smoke, metal, and the faint sugar scent of offerings. Light came from an odd variety of places: glowstones, candles, a refrigerator that kept turning out small, cold glass boxes with names no one recognised. Harlow's hand tightened around the ladder rungs. Her boots touched the platform and the market moved to examine her. Eyes looked up, narrow, wide, blank; some recognised the pin of the Metropolitan and something like a hush threaded into the air, then unravelled. No phones. No cameras. People seemed to calculate her like a price and decide not to bid. The hooded man who had escaped ahead threaded through the stalls with a practised ease. He kept his hood up even when he reached a vendor who chopped up small bones into powders and packed them into little paper cones. He handed over a scrap of paper. The vendor produced a small packet wrapped in grey tissue and slid it into his palm. Two men blocked Harlow's path. "Official," one said. He spoke with a feel of leather and old law, as if he had once carried papers for a court and never let go. He looked the sort to have been a bailiff in a previous life. "Unofficial," the other countered, with a voice like a child's broken toy. He smelled like street tar and sulphur. "Leave," Harlow said. "Leave," the first repeated, slower, as if testing the word like a new coin. "You can leave, but know this. Anyone who came here without permission brought trouble." "Trouble is my business," she said. They laughed, and the laugh felt thoughtful, as if it had been waiting for permission for a long time. Harlow noticed without wanting to how the vendor with the bones watched them with a peculiar hunger. The vendor's hands were stained dark at the tips. Tomás had already melted into the tide, his back disappearing between a stall selling talismans and a man operating something that clicked with gears and made small animal noises. She had two breaths to decide. Leave and watch from the street by the green neon until the man was out and then try to tail him again, or go forward into a place that refused law and might vomit up more than she could swallow. Her mind cheated to the past: Morris in the twenty-four hours before his disappearance, a coffee ring on a paper, a phone that kept receiving calls with static; images that refused to fit the neat boxes of explanation. The Veil Market had been mentioned once in the margins, a note tucked in someone's file: a place between things where people lost themselves. Someone pushed a cart noisily near her and a glass globe on it chimed like a bell. A child with too-old eyes stared at her and smiled a smile that hurt her teeth. The hooded man turned a corner and vanished. The crowd swallowed him like an answer. Harlow stepped through. Her badge was still hidden. Her watch lay cool at her wrist. She moved like she always did: precise, economical, with the intent to do one thing and do it well. She had not come this far to let a shifting market decide outcomes. The platform narrowed and voices thickened. A vendor blocked the way with a display of jars. One jar held a specimen she did not want to name. The man behind it nodded at her as if they had always been expected in this role. "Outsiders bring police," he said, curiously calm. "Intruders bring fire." Footsteps behind her accelerated. She pivoted. Tomás had returned and put a hand to the small of her back as if to guide her. It was a useless, polite action, the kind that said I will help you even when you do not ask. He squeezed once and stepped back. The hooded man had returned too, now with a companion. They had a small paper packet between them and a clockwork thing that clicked in a slow, patient way. As they reached the centre of the market they stopped. The vendors around them drew a small ring and the noise of the market receded, a single breath holding. The hooded man unfurled his hands and set the packet on a battered crate. He tapped it twice. The air changed. It went colder and thicker, as if someone had slid a heavy curtain across the room. Something in the packet flared, a small blue light like a stubborn heart. The clockwork thing began to spin. The ring tightened like a noose. Harlow realised, with the professional clarity that follows training, that they had planned for intruders, that they had prepared a welcome. She moved a half-step forward, hand going to the bag strap again. Someone from the ring stepped forwards at the same moment and bellowed a word she had not heard before, a syllable that scraped the tiles. The blue light in the packet hit the crowd like a cut. A vendor screamed, hands clapped to his mouth. A bird in a cage began to shriek, then stopped as if the sound had been cut. Tomás lunged. He moved like a man who had mended bodies for a living, like someone who could make something whole again by touch. He reached for the packet. He did not get his fingers on it. The hooded man smiled, sharp and unkind, and the packet opened like an eye. Something came out that was not meant to be named in the ledger of the living. Heads turned. The market surged. Harlow moved to intercept as chaos unfurled, sensations folding into violence. She drew breath, set her jaw, and stepped into the centre of it. The world then remembered to howl.
created_at"2026-02-19T12:47:26.025Z" 2/19/2026, 12:47:26 PM
model"openai/gpt-5-mini-2025-08-07"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency5356
moderation_latency(null)
generation_time56236
tokens_prompt4663
tokens_completion4563
native_tokens_prompt4132
native_tokens_completion4678
native_tokens_completion_images0
native_tokens_reasoning1664
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"
usage0.009525
router(null)
provider_responses
0
endpoint_id"c4f66d01-20b0-4c27-a225-438ea22fda43"
id"resp_0f8571055f6df0bb016997065e16d08196999efa9eae314169"
is_byokfalse
latency131
model_permaslug"openai/gpt-5-mini-2025-08-07"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771505246-w8pLwrkkHYuYmGOt4W31"
upstream_id"resp_0f8571055f6df0bb016997065e16d08196999efa9eae314169"
total_cost0.009525
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
totalTags17
adverbTagCount1
adverbTags
0"he said once [once]"
dialogueSentences26
tagDensity0.654
leniency1
rawRatio0.059
effectiveRatio0.059
97.98% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2478
totalAiIsmAdverbs1
found
0
adverb"very"
count1
highlights
0"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)
83.86% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2478
totalAiIsms8
found
0
word"velvet"
count1
1
word"flicked"
count1
2
word"mechanical"
count1
3
word"tracing"
count1
4
word"familiar"
count1
5
word"warmth"
count1
6
word"calculate"
count1
7
word"footsteps"
count1
highlights
0"velvet"
1"flicked"
2"mechanical"
3"tracing"
4"familiar"
5"warmth"
6"calculate"
7"footsteps"
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
narrationSentences210
matches(empty)
74.83% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount4
hedgeCount6
narrationSentences210
filterMatches
0"watch"
1"decide"
hedgeMatches
0"tried to"
1"began to"
2"seemed to"
3"try to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences218
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen40
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2466
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions18
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions40
wordCount2315
uniqueNames17
maxNameDensity0.52
worstName"Harlow"
maxWindowNameDensity1.5
worstWindowName"Harlow"
discoveredNames
Quinn2
Raven1
Nest1
Veil3
Market3
Tube1
Morris2
Harlow12
Detective1
Herrera1
Saint1
Christopher1
London1
Metropolitan1
Footsteps1
People3
Tomás5
persons
0"Quinn"
1"Raven"
2"Nest"
3"Market"
4"Morris"
5"Harlow"
6"Herrera"
7"Saint"
8"Christopher"
9"People"
10"Tomás"
places
0"London"
globalScore1
windowScore1
66.67% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences150
glossingSentenceCount5
matches
0"smelled like mould and old gin"
1"looked like pastry but hummed when touche"
2"something like a hush threaded into the air"
3"smelled like street tar and sulphur"
4"as if testing the word like a new coin"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2466
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences218
matches
0"training, that they"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs67
mean36.81
std26.32
cv0.715
sampleLengths
023
170
260
365
435
567
619
740
848
979
1020
117
1217
133
1440
1554
165
1715
1814
1916
2057
2165
2212
2370
2432
2562
2616
2749
286
2921
3030
315
3224
3314
3460
3556
3627
3726
3812
3922
4010
41101
4270
4360
4463
455
4640
4719
483
4928
98.58% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences210
matches
0"been wrapped"
1"been emptied"
2"been mentioned"
3"been expected"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs435
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount4
flaggedSentences3
totalSentences218
ratio0.014
matches
0"Her choices arranged themselves in quick geometry: walk away and follow through legal channels later, risk losing him; force her way and become the intruder; or manipulate entry by finding a proxy."
1"Eyes looked up, narrow, wide, blank; some recognised the pin of the Metropolitan and something like a hush threaded into the air, then unravelled."
2"Her mind cheated to the past: Morris in the twenty-four hours before his disappearance, a coffee ring on a paper, a phone that kept receiving calls with static; images that refused to fit the neat boxes of explanation."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2327
adjectiveStacks0
stackExamples(empty)
adverbCount64
adverbRatio0.02750322303394929
lyAdverbCount6
lyAdverbRatio0.002578427159432746
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences218
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences218
mean11.31
std7.42
cv0.656
sampleLengths
023
15
230
316
419
523
615
72
82
918
1010
1126
126
1323
1411
158
1612
174
184
1918
202
219
2215
237
2412
2513
266
2715
2813
291
308
313
325
3320
345
356
364
378
385
398
4017
4123
4215
437
444
457
464
475
484
497
34.40% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats34
diversityRatio0.25229357798165136
totalSentences218
uniqueOpeners55
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences187
matches(empty)
ratio0
59.57% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount75
totalSentences187
matches
0"He caught the flare of"
1"She planted her shoulder into"
2"Her left hand flashed her"
3"He threaded between delivery bikes,"
4"He slid past the bar,"
5"She moved like someone who"
6"Her jaw set sharp, shoulders"
7"He vanished through it."
8"She shoved past the books,"
9"You could meet the Veil"
10"She had read the file"
11"It moved every full moon."
12"It lived beneath a Tube"
13"It accepted bone tokens."
14"It sold things that should"
15"Her logical brain supplied caution."
16"Her left hand whispered against"
17"Her partner's file slipped under"
18"She had been close then,"
19"She stayed close now."
ratio0.401
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount174
totalSentences187
matches
0"He caught the flare of"
1"Harlow Quinn did not falter."
2"She planted her shoulder into"
3"The rain's residue streaked the"
4"Her left hand flashed her"
5"He threaded between delivery bikes,"
6"The Raven's Nest exhaled a"
7"He slid past the bar,"
8"She moved like someone who"
9"Her jaw set sharp, shoulders"
10"Names on the walls watched"
11"The bar's chatter thinned like"
12"A hand rose in a"
13"The back shelf sagged as"
14"Books shuffled, hinges worried, and"
15"He vanished through it."
16"Quinn did not hesitate."
17"She shoved past the books,"
18"The secret room smelled like"
19"A single bare bulb swung,"
ratio0.93
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences187
matches(empty)
ratio0
83.95% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences97
technicalSentenceCount8
matches
0"The Raven's Nest exhaled a warm, cigarette-and-whiskey breath that smelled of smoke and old secrets."
1"The bone caught the bare bulb and threw off a sliver of light that landed on Harlow's cheekbone, on the sharp line of her jaw."
2"Light came from an odd variety of places: glowstones, candles, a refrigerator that kept turning out small, cold glass boxes with names no one recognised."
3"They laughed, and the laugh felt thoughtful, as if it had been waiting for permission for a long time."
4"Tomás had already melted into the tide, his back disappearing between a stall selling talismans and a man operating something that clicked with gears and made s…"
5"Her mind cheated to the past: Morris in the twenty-four hours before his disappearance, a coffee ring on a paper, a phone that kept receiving calls with static;…"
6"They had a small paper packet between them and a clockwork thing that clicked in a slow, patient way."
7"Harlow realised, with the professional clarity that follows training, that they had planned for intruders, that they had prepared a welcome."
95.59% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags17
uselessAdditionCount1
matches
0"he said, as if they had ever been friends who simply fell out of touch"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags14
fancyCount1
fancyTags
0"the man advised (advise)"
dialogueSentences26
tagDensity0.538
leniency1
rawRatio0.071
effectiveRatio0.071
83.1809%