Run: 2026-03-06-01KK1GDAK87CM4JKJMQQDTNSVA

Run Details

Model:
GPT-5.4
Duration:
1m 14s
Cost:
$0.039080
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Horror 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> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Aurora caught her sleeve on the standing stone and swore under her breath. The rough old oak edge scraped over her coat and tugged her back as if the Grove had hooked a finger in her clothes and changed its mind about letting her through. She twisted free, boots sinking into soft earth, and the world behind her muffled at once. Richmond Park, the road beyond it, the thin human hum of London, all of it dropped away. Ahead, the clearing opened in a hush too neat to trust. She stood still and let her eyes work. Wildflowers spread under the trees in a thick, careless drift, white and blue and bruised purple, all of them fresh as spring though half the park outside had no business feeding anything this lush. The grass looked combed. The trunks curved inward, not enough to make an arch, just enough to suggest one. The air held that green taste old glasshouse plants had, damp and sweet, touched with something metallic underneath. Rory slid a hand inside her coat and closed her fingers around the Heartstone Pendant. The deep crimson gem answered with a pulse of warmth against her palm. "Right," she murmured. "So this was worth the bus fare." Her own voice came back wrong. Not an echo. Softer than the words she had spoken, as if someone deeper in the Grove had repeated them with care. She did not call out again. She pulled the pendant free and let it hang on its silver chain. A faint inner glow breathed in the stone, no brighter than a dying coal. Warm. Warmer than it had been in her flat. Warmer than it had been while she crossed the park with her phone torch off and every rabbit path looking like a trick. She had not come for beauty. She had come because an old woman in the back room of Golden Empress had gripped her wrist, stared at the scar there, and said, "If the red stone wakes near the old oaks, don't ignore it. Portals don't open like doors. They open like wounds." Then Yu-Fei had returned with tea and acted as if the woman had said nothing at all. Rory moved deeper into the clearing. Her steps made almost no sound. That bothered her more than if the place had creaked and crackled. Grass should whisper. Branches should snap. Here, every footfall sank and vanished. Even her breathing felt rude. She kept the standing stones at her back for several paces, then risked a glance over her shoulder. They had shifted. Not by much. Enough. The two nearest stones no longer framed the gap where she had entered. They sat a little closer together now, broad old shoulders turning inward. An ordinary person could have blamed the dark, poor angles, nerves. Rory had spent enough of her life being told to doubt herself. She no longer found the habit charming. "Lovely," she said. The pendant warmed again. A thread of red gleam tugged through the clearing, not a beam, more a suggestion in the air, as if the stone leaned toward something hidden further on. Rory followed it between two hawthorn bushes heavy with blossom. Their scent struck her too late, thick as perfume in a shut room. She held back a cough and pushed through. The Grove changed by inches. The open centre gave way to a narrower run of ground under low branches. Smooth roots rose from the soil like knuckles. Pale moths clung to bark in clusters that looked, at first glance, like scraps of paper pinned there. Somewhere to her left, water dripped in a patient rhythm. Drip. Drip. Drip. She turned towards it and found no stream, no pond, no rock face. The dripping stopped. A beat later it started again on her right. Rory smiled without humour. "All right. We're doing that." She crouched and touched the ground. Damp, but not wet enough to account for the sound. Her fingers came away clean. The soil smelled rich, fungal, newly turned. Under that, the same metal tang from before. Not blood. Not exactly. More like old coins rubbed warm in a fist. A shape moved between the trees ahead. She rose at once. Nothing stood there. Only a slim silver birch with bark peeling in curled strips. Yet she had seen movement. Not a fox. Too tall. Not a person either, unless a person had learned to slide sideways without stirring a branch. Rory slipped her phone from her pocket and checked the screen. No signal. Battery at forty-two. The lock screen showed 22:14. She put it away. The clearing narrowed further, then opened around a pool she would have sworn had not existed a second before. Black water lay still under mats of floating petals. The surface held no stars, no branch shadows, no reflection of her face when she leaned over. It looked less like water than polished stone cut to imitate depth. The pendant grew hot enough to sting. She sucked air through her teeth and wrapped the chain around her fingers. At the far side of the pool stood a small ring of mushrooms, each cap white as bone, each stem thin as finger joints. Beyond them, wedged between two yew trunks, something gleamed dull red. Her pulse gave a hard thump. She circled the pool with care. The flowers at its edge changed under her gaze. Daisies became foxgloves, then bluebells, then flowers she did not know, each shift so smooth she caught only the result. Her skin prickled under her coat. At the mushroom ring she stopped. The red gleam came from a shard of stone half buried in the roots of the yews. It matched the Heartstone's colour, though this piece looked cloudy, cracked through the middle. Runes scored its surface in lines too shallow to read. Rory knelt and reached out. The Grove exhaled. Wind did not move. Leaves did not stir. Yet every hair on her arms rose as if something vast had breathed over her shoulder. The smell changed too. Green sweetness soured into peat, candle smoke, wet iron. She snatched her hand back and looked behind her. No one. No thing. Still, the certainty settled in her with cold, practical weight. She was not alone. She had not been alone from the moment the standing stone caught her coat. The Grove had only let her notice in stages. "Fine," she said into the trees. "You've made the point." A laugh answered her. Not loud. Not close. A woman's laugh, low and brief, touched with amusement and gone before it could settle into memory. Rory stood so fast her heel slid in the moss. She caught herself on a yew trunk, bark biting into her palm. "Who's there?" Silence. Then, from somewhere behind the pool, a voice said, "You came wearing red. That's bold." Rory turned. The far bank lay empty. Petals floated on the black water. The mushrooms stood in their neat pale ring. No face. No body. Only voice. "That's funny," Rory said. "I was about to say the same about lurking in the dark and commenting on jewellery." The voice clicked its tongue. "London bred you fast." "Cardiff, actually." "Not where you were born. Where you were sharpened." Rory's grip tightened on the pendant. "If you know me, save us both time and step out." A pause. Then a shape detached itself from the dark under the hawthorn branches. It did not step so much as unpeel, first a pale hand, then a narrow face, then a figure in a long coat the colour of dead leaves. A woman, at least in outline. Her hair hung black and straight to her chest. Her eyes caught the faint red from the pendant and threw it back blue, bright and wrong. Rory saw herself, altered by a cruel artist's hand. Same height. Same dark hair. Same chin. The left wrist even bore a pale crescent scar. Her mouth went dry. "That," Rory said, "is cheap." The other woman smiled. "Is it? I thought it courteous." "Courtesy usually starts with a name." "You have so many. Rory. Aurora. Laila." She tilted her head. "Malphora, if one digs under enough doors." Rory held her ground. "No one calls me that." "Someone will." The thing's voice carried no strain. It sounded conversational, almost warm. That made it worse. Predators who hissed announced themselves. Predators who spoke like old friends expected to be invited closer. Rory looked past her at the yews, the path, the stone ring, anything but those blue eyes. The path behind the woman had gone. There should have been hawthorn and open ground leading back to the standing stones. Instead a wall of trunks packed close together blocked the way, bark black and wet as if varnished. No gap. No line of retreat. "Of course," Rory muttered. The copy of her took another step. Not near enough to force a scramble, just near enough to prove she could. "You brought a key." The thing glanced at the Heartstone. Hunger flickered over its face and vanished under that soft smile. "Give it here." "No." "You don't know what it opens." "Neither do you, or you wouldn't need me." That landed. A thin crack showed in the woman's expression. Rory pressed on. "So here's my counteroffer. You explain why my pendant lights up in your haunted flowerbed, why the scenery keeps rearranging itself, and why you thought wearing my face would help." The Grove answered before the stranger did. Something moved in the trees around them. Then several things. Branches shook. Petals skittered over the pool. The black water dimpled as if fingers tapped from below. The woman's smile faded. "You should not have said haunted." Rory heard it then, under the rustle and the drip and the thin scrape of shifting bark. Whispering. Many voices, too low to make out words, all crowding from the tree line at once. They seemed to come from the roots, from the flowers, from the stone shard by the yews. The pendant burned against her skin. "What are those?" Rory asked. The copy looked annoyed, not afraid, which frightened Rory more. "Late." "That's not an answer." "You crossed in carrying Hel's scent. Did no one warn you what follows wounds?" The pool bulged. Water domed upward without splashing, a smooth black swell rising from the centre. Petals slid off it. Faces pressed through the surface from beneath, not fully formed, only brows and mouths and the suggestion of eye sockets, all of them stretching against the skin of the water as if a membrane held them back. Rory stumbled away. The whispering sharpened. Not words yet. Teeth testing language. The woman in her shape snapped her gaze to the pool. For the first time her voice lost its velvet edge. "Give me the Heartstone." Rory backed towards the yews instead. "Convincing argument. Needs polish." "You fool, they can smell it." "They?" One of the faces broke the surface. Not with gore. With a soft, obscene ease, as if the water had given birth to smoke and taught it bones. A head lifted first, slick and featureless for a heartbeat, then the features slid into place, too many of them, mouths opening where cheeks should be, eyes blinking along the brow like a row of wet seeds. Thin arms followed, jointed wrong, ending in clear hands through which the dark water still moved. The copy lunged. Rory jumped back, expecting claws, a strike, some Fae trick. Instead the woman grabbed for the pendant chain with both hands, desperate enough to drop the performance. Her face blurred on the move, her own features slipping, stretching longer, elegant and cruel and not human at all. The silver chain bit into Rory's neck as they collided, and behind them the thing from the pool drew breath and screamed.
created_at"2026-03-06T12:01:59.928Z" 3/6/2026, 12:01:59 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1084
moderation_latency(null)
generation_time74335
tokens_prompt4560
tokens_completion2989
native_tokens_prompt4064
native_tokens_completion2504
native_tokens_completion_images0
native_tokens_reasoning0
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"
usage0.03908
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_0aae2c9cf3b8a0c50169aac237fcbc81969de6fe8e2739ba45"
is_byokfalse
latency153
model_permaslug"openai/gpt-5.4-20260305"
provider_name"OpenAI"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.0; linux; x64))"
http_referer(null)
api_type"completions"
id"gen-1772798519-4tzHDu2HInCBHuKqX1L5"
upstream_id"resp_0aae2c9cf3b8a0c50169aac237fcbc81969de6fe8e2739ba45"
total_cost0.03908
cache_discount0.00864
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
totalTags10
adverbTagCount0
adverbTags(empty)
dialogueSentences38
tagDensity0.263
leniency0.526
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1984
totalAiIsmAdverbs0
found(empty)
highlights(empty)
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
74.80% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1984
totalAiIsms10
found
0
word"pulse"
count2
1
word"warmth"
count1
2
word"echo"
count1
3
word"whisper"
count1
4
word"footfall"
count1
5
word"weight"
count1
6
word"silence"
count1
7
word"flickered"
count1
8
word"velvet"
count1
highlights
0"pulse"
1"warmth"
2"echo"
3"whisper"
4"footfall"
5"weight"
6"silence"
7"flickered"
8"velvet"
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
narrationSentences200
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences200
filterMatches
0"notice"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences228
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen46
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1984
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions13
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions46
wordCount1759
uniqueNames12
maxNameDensity1.36
worstName"Rory"
maxWindowNameDensity3.5
worstWindowName"Rory"
discoveredNames
Grove6
Park1
London1
Heartstone3
Pendant1
Golden1
Empress1
Yu-Fei1
Rory24
Fae1
Drip3
Petals3
persons
0"Grove"
1"Pendant"
2"Empress"
3"Yu-Fei"
4"Rory"
5"Petals"
places
0"Park"
1"London"
2"Heartstone"
globalScore0.818
windowScore0.5
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences119
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1984
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences228
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs114
mean17.4
std19.03
cv1.094
sampleLengths
013
176
28
371
415
513
610
728
86
959
1052
1117
126
1335
1418
153
164
1755
183
194
2059
2155
223
2313
243
259
269
2749
287
294
3040
3121
324
3357
347
3513
3635
376
3841
396
4041
415
423
4337
449
452
462
4737
4810
494
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences200
matches
0"being told"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs287
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences228
ratio0
matches(empty)
95.25% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1761
adjectiveStacks0
stackExamples(empty)
adverbCount80
adverbRatio0.045428733674048836
lyAdverbCount8
lyAdverbRatio0.004542873367404884
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences228
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences228
mean8.7
std7.18
cv0.825
sampleLengths
013
132
216
317
411
58
634
74
815
918
1015
1113
123
137
146
153
1619
176
1813
1914
201
218
2223
236
2446
2517
266
276
2812
293
303
316
325
3318
343
353
361
3713
3812
3911
4012
417
423
434
4428
4510
4613
478
485
4914
53.07% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats19
diversityRatio0.3684210526315789
totalSentences228
uniqueOpeners84
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount10
totalSentences169
matches
0"Then Yu-Fei had returned with"
1"Even her breathing felt rude."
2"Somewhere to her left, water"
3"More like old coins rubbed"
4"Only a slim silver birch"
5"Then, from somewhere behind the"
6"Then a shape detached itself"
7"Instead a wall of trunks"
8"Then several things."
9"Instead the woman grabbed for"
ratio0.059
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount38
totalSentences169
matches
0"She twisted free, boots sinking"
1"She stood still and let"
2"Her own voice came back"
3"She did not call out"
4"She pulled the pendant free"
5"She had not come for"
6"She had come because an"
7"Her steps made almost no"
8"She kept the standing stones"
9"They had shifted."
10"They sat a little closer"
11"She no longer found the"
12"Their scent struck her too"
13"She held back a cough"
14"She turned towards it and"
15"She crouched and touched the"
16"Her fingers came away clean."
17"She rose at once."
18"She put it away."
19"It looked less like water"
ratio0.225
81.30% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount128
totalSentences169
matches
0"Aurora caught her sleeve on"
1"The rough old oak edge"
2"She twisted free, boots sinking"
3"Richmond Park, the road beyond"
4"She stood still and let"
5"Wildflowers spread under the trees"
6"The grass looked combed."
7"The trunks curved inward, not"
8"The air held that green"
9"Rory slid a hand inside"
10"The deep crimson gem answered"
11"Her own voice came back"
12"She did not call out"
13"She pulled the pendant free"
14"A faint inner glow breathed"
15"She had not come for"
16"She had come because an"
17"Rory moved deeper into the"
18"Her steps made almost no"
19"That bothered her more than"
ratio0.757
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences169
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences73
technicalSentenceCount4
matches
0"The rough old oak edge scraped over her coat and tugged her back as if the Grove had hooked a finger in her clothes and changed its mind about letting her throu…"
1"Yet every hair on her arms rose as if something vast had breathed over her shoulder."
2"Instead a wall of trunks packed close together blocked the way, bark black and wet as if varnished."
3"Faces pressed through the surface from beneath, not fully formed, only brows and mouths and the suggestion of eye sockets, all of them stretching against the sk…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags10
uselessAdditionCount0
matches(empty)
97.37% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount2
fancyTags
0"she murmured (murmur)"
1"Rory muttered (mutter)"
dialogueSentences38
tagDensity0.211
leniency0.421
rawRatio0.25
effectiveRatio0.105
91.7263%