Run: 2026-03-06-01KK1GFD98QWM2JWJJY5JZD6FC

Run Details

Model:
GPT-5.4
Duration:
1m 13s
Cost:
$0.047890
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
"Stop, police!" Detective Harlow Quinn drove her shoulder through a knot of late drinkers and caught a flash of black coat cutting across the road ahead. Tyres screamed. A cab swerved. The suspect slapped one hand on a bonnet, vaulted it, and vanished through the spill of red brake lights with the smooth confidence of someone who had run this route before. Quinn did not slow. Water slicked the pavement and turned every kerb into a trap. Her worn leather watch bit her wrist each time her arm pumped. She kept her chin tucked, eyes fixed, breath measured. Eighteen years had taught her that feet lied less than faces. The runner favoured the right side after each landing. Old injury, or a fresh one. Good. Bodies always told. "Control, this is Quinn. Foot pursuit, male suspect, dark coat, heading north from Soho towards Camden. No unit close enough, don't waste my time asking." Static crackled in her earpiece. "Received, Detective. Armed?" "Unknown." That meant yes until proved otherwise. The suspect shot down a lane behind a row of shuttered shops. Quinn followed and hit a wall of stink, beer slops, fryer grease, wet cardboard, piss. Bins lined the brick like squat black teeth. The man ahead kicked one over without looking. It rolled at her. She hurdled it, clipped the lid, and landed hard enough to jar her knees. He glanced back then. Pale face, narrow mouth, shaved head. Not one of the names from her board, but he wore fear like a badge. He knew what sat in the satchel banging at his hip. "You're making this worse," Quinn shouted. He answered with a grin that looked borrowed and wrong, all lips and no warmth, then cut left through a service arch. Quinn reached the arch seconds later and burst into a busier street where neon signs bled across the wet tarmac. Music thumped through brick walls. A line of smokers outside a club recoiled as the suspect barged through them. One woman swore at his back. Another pointed. "He went that way, love!" Quinn flashed her warrant card without breaking stride. The city shifted as she ran. Soho's polished rot gave way to rougher edges, streets that forgot to perform for tourists. Cash-and-carry shops. dark windows. Fried chicken places with steamed-up fronts and hand-painted offers no one believed. At the corner, a minicab office glowed aquarium blue. Two men inside watched her streak past with the calm of men who had seen stranger things and charged surge pricing for all of them. She had picked the suspect up outside The Raven's Nest after an informant failed to arrive. Green neon hummed over the bar's entrance, dirty and steady. Through the window she had seen old maps on the walls, black-and-white photographs, faces long dead watching the room. She had been about to go in when her suspect came out the side alley instead, clutching the satchel as if it held a pulse. He had looked straight at her. Not at the badge. At her. Then he ran. That bothered her more than the sprint. Men bolted from police for dozens of reasons. Only a few looked at her as if they knew exactly who hunted them. The suspect ducked through an open market arcade and knocked over a stack of flower buckets. Water and crushed stems sloshed across the ground. Quinn ploughed through the mess. Sweet rot climbed into her throat. She saw him at the far end, slipping under striped awnings and hanging signs, scattering shoppers and porters. A delivery boy swore as Quinn nearly took him off his moped. "Police!" "Join the queue," he snapped. The suspect cut towards the canal, then veered at the last second and bolted down a flight of grimy steps beside a boarded-up music shop. Quinn reached the top just in time to see him hit the landing below and shoulder open a chain-link gate that should have been locked. She stopped for half a beat. Below lay a disused station entrance. The old roundel had been ripped off years ago, leaving pale bolts in the tile. A handwritten arrow marked on the wall pointed down, then someone had scratched it out so hard the plaster scored. Light leaked up from beneath in thin, dirty strips. Not station light. Too warm. Too alive. Her radio hissed. "Quinn, nearest response is six minutes." "He won't be there in six minutes." "Detective, report your location." She looked down the stairs. Heard voices under the city. Not the hollow, harmless echo of rail tunnels. This sounded closer, crowded, layered. Trade. Laughter. A shout. The scrape of metal on stone. Then the suspect's voice rose from below, sharp with panic. "Open it, for God's sake, open it!" A second voice answered, low and bored. "Token first." Quinn moved. The steps narrowed and curved, each one furred with damp. Posters peeled off tiled walls in grey curls. Her soles slapped stone. Her hand brushed the rail and came away black with grime. Halfway down she caught the scent of paraffin, incense, hot dust, and something sweet enough to mask blood. At the bottom, the corridor widened into an old ticket hall stripped of signs and filled with people. Quinn slowed because instinct told her that speed here could kill. Stalls crowded the hall where barriers had once stood. Lamps hung from iron hooks and cast amber pools over tables laden with oddments she could not name at a glance, stoppered vials of shifting colour, strings of teeth, books bound in skins that did not look bovine, silver knives etched with script too neat for decoration. Tarpaulins partitioned old alcoves into little shops. Traders leaned on crates and watched her with blank, assessing faces. No one wore surprise. No one asked why a police detective had appeared in their den. They looked at her as though they had been expecting some version of her all along. The Veil Market. The name surfaced from interviews, witness statements, mutters from drunks and liars and one terrified accountant who had clawed his own cheeks raw before recanting everything. An underground market beneath Camden. Bone token for entry. Moves every full moon. She had pinned the rumours to a corkboard and called them leverage, not belief. Now she stood in it, rainwater dripping off her coat on to cracked Victorian tiles. The suspect shoved through a knot of customers near a stall draped in foxed lace. He looked back again, saw that she had followed, and panic sharpened him. He vanished into the deeper part of the market where the old platforms would be. A woman behind a counter of bottled powders clicked her tongue. "No token, no trade." "Not shopping." "Then you're lost." Quinn held up her warrant card. "I'm looking for the man who just came through." The woman stared at the card as if it were a quaint menu. "Plenty of men come through." "He has a satchel." "That narrows it to half the room." Quinn stepped closer. The trader had kohl-rimmed eyes and a strip of scar tissue along her throat like a second necklace. "He pushed past you." "He was in a hurry." "Which way?" The woman smiled with professional contempt and tapped a small bowl on her counter. Bone discs lay inside, each drilled through the centre. "Consultation fee." Quinn turned and scanned the hall instead. Two broad men stood by the arch she had entered through. Not security in any official sense, but built for discouragement. One rolled a coin over his knuckles. The other watched her hands. Beyond them, the stairs looked narrower than before. Fine. A child no older than twelve slipped past carrying a tray of steaming cups. Her eyes were old. A man in a velvet coat haggled over a cage covered with black cloth. Something inside clicked its beak against the bars in a patient rhythm. Somewhere deeper in the market, a woman laughed, then choked the sound off. The station inhaled and exhaled around her. Quinn moved after the suspect. She left the ticket hall and entered the platform level through a tiled tunnel where old adverts still clung to the walls under layers of soot. New life had grown over the dead station in ugly, thriving ways. Extension leads snaked across the floor. Kerosene heaters hissed beside stalls built from reclaimed doors. The tracks had been boarded over to make aisles, though gaps remained, black channels dropping into filth below. The old rails still showed in places, dull and rusted like buried blades. Voices shifted as she passed. "Police?" "Not ours." "Look at her watch." "Military, that one." A butcher's stall displayed cuts of meat too dark and too glossy, hung from hooks over enamel trays. The trader, a huge woman in a bloodstained apron, chopped through a joint with one blow and smiled without pausing. "Need a heart, officer?" "Already got one." "Most who come here don't." Quinn spotted the suspect at last near the far end of the platform, bent over a table lit by a naked bulb. A thin old man stood behind it, surrounded by drawers and little brass scales. The suspect yanked something from his pocket and slammed it down. White. Round. Bone. Token. The old man snatched it and nodded towards a service door half hidden by hanging chains. The suspect reached for the latch. "Don't," Quinn said. Her voice carried. The nearby sellers fell quiet first, then the customers. Silence spread in ripples. The suspect turned. Sweat shone on his shaved scalp. One hand clutched the satchel strap. The other hovered near his coat. "You don't know where you are." "I know you're under arrest." "For what?" "Let's start with running." A few people laughed. Not kindly. The suspect swallowed and flicked a glance at the chained door behind him. "You should've stayed upstairs, Detective." So he knew her name. Of course he did. "Who told you to meet at the Raven's Nest?" He backed up one step. "You ask the wrong doors to open." "Answer me." "You think this is criminal. That's your little comfort blanket." He bared his teeth. "You haven't even seen the bad room yet." His hand flashed inside his coat. Quinn drew first. The movement came clean and practised, two hands on the grip, muzzle level with his chest. "Don't." The market reacted as one body sucked breath through its teeth. Several traders ducked. Others leaned in. The suspect froze with a glass vial in his fingers, no bigger than a thumb. Dark liquid swirled inside it, thick as old blood. A rag stopper plugged the top. The old man behind the scales hissed. "Idiot, not in here." Quinn advanced. "Set it down." The suspect's mouth twitched. "Three years ago, under the Westway, your partner begged louder." That hit like a baton to the ribs. DS Morris, sprawled in concrete dust, radio whining with static, eyes wide at something behind Quinn that no report had ever managed to explain. For one dangerous beat, her aim drifted. The suspect saw it. He bit the stopper out and smashed the vial at his feet. The glass cracked. Black fluid splashed over the boards. The smell struck first, copper and singed hair and the sweet reek of overripe fruit. Then the boards shuddered. All along the platform, people recoiled. "Move!" someone shouted. The cracks between the planks widened. Something underneath slammed into them once, twice, hard enough to make the stall legs jump. A butcher's hook swung. Bottles toppled and shattered. From the darkness below the boards came a wet scraping, followed by a low, hungry sound that belonged nowhere in London. The suspect lunged for the chained door. Quinn broke into a run as the floor bulged between them.
created_at"2026-03-06T12:03:08.217Z" 3/6/2026, 12:03:08 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency474
moderation_latency(null)
generation_time72526
tokens_prompt4663
tokens_completion3043
native_tokens_prompt4132
native_tokens_completion2504
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.04789
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_0ccedc9ed1d6b1390169aac27c4bfc81968227ea36ab796a66"
is_byokfalse
latency149
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-1772798588-K1XXtt9oB3kPNptGvnh6"
upstream_id"resp_0ccedc9ed1d6b1390169aac27c4bfc81968227ea36ab796a66"
total_cost0.04789
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags5
adverbTagCount0
adverbTags(empty)
dialogueSentences47
tagDensity0.106
leniency0.213
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1962
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)
71.97% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1962
totalAiIsms11
found
0
word"measured"
count1
1
word"warmth"
count1
2
word"charged"
count1
3
word"pulse"
count1
4
word"echo"
count1
5
word"etched"
count1
6
word"scanned"
count1
7
word"velvet"
count1
8
word"silence"
count1
9
word"flicked"
count1
10
word"shattered"
count1
highlights
0"measured"
1"warmth"
2"charged"
3"pulse"
4"echo"
5"etched"
6"scanned"
7"velvet"
8"silence"
9"flicked"
10"shattered"
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
emotionTells1
narrationSentences188
matches
0"p with panic"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences188
filterMatches
0"watch"
hedgeMatches
0"managed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences230
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen47
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1962
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
89.83% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions36
wordCount1745
uniqueNames12
maxNameDensity1.2
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn21
Raven1
Nest1
Veil1
Market1
Camden1
Victorian1
Morris1
London1
One3
Bone3
persons
0"Harlow"
1"Quinn"
2"Morris"
3"One"
places
0"Raven"
1"London"
globalScore0.898
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences122
glossingSentenceCount0
matches(empty)
98.06% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.019
wordCount1962
matches
0"Not one of the names from her board, but he wore fear like a badge"
1"Not security in any official sense, but built for discouragement"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences230
matches
0"saw that she"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs118
mean16.63
std19.85
cv1.194
sampleLengths
02
160
266
325
45
53
61
76
861
936
106
1122
1247
135
148
1571
1670
176
186
193
2029
2153
2212
231
245
2550
266
2757
283
296
307
314
3233
3310
347
357
362
372
3851
3918
4011
4174
4232
433
4453
4515
4643
4711
484
492
99.66% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences188
matches
0"been locked"
1"been ripped"
2"been boarded"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs303
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences230
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1754
adjectiveStacks0
stackExamples(empty)
adverbCount42
adverbRatio0.02394526795895097
lyAdverbCount5
lyAdverbRatio0.0028506271379703536
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences230
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences230
mean8.53
std6.68
cv0.783
sampleLengths
02
124
22
33
431
54
611
712
89
911
109
116
121
133
1425
155
163
171
186
1912
2015
218
228
234
2414
254
266
2715
2811
296
3022
3120
325
3314
346
352
365
378
386
3915
402
412
4212
439
4425
4516
4610
4719
4825
496
70.00% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.4434782608695652
totalSentences230
uniqueOpeners102
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences165
matches
0"Then he ran."
1"Only a few looked at"
2"Then the suspect's voice rose"
3"Somewhere deeper in the market,"
4"Of course he did."
5"Then the boards shuddered."
ratio0.036
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount27
totalSentences165
matches
0"Her worn leather watch bit"
1"She kept her chin tucked,"
2"It rolled at her."
3"She hurdled it, clipped the"
4"He glanced back then."
5"He knew what sat in"
6"He answered with a grin"
7"She had picked the suspect"
8"She had been about to"
9"He had looked straight at"
10"She saw him at the"
11"She stopped for half a"
12"Her radio hissed."
13"She looked down the stairs."
14"Her soles slapped stone."
15"Her hand brushed the rail"
16"They looked at her as"
17"She had pinned the rumours"
18"He looked back again, saw"
19"He vanished into the deeper"
ratio0.164
84.24% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount124
totalSentences165
matches
0"Detective Harlow Quinn drove her"
1"A cab swerved."
2"The suspect slapped one hand"
3"Quinn did not slow."
4"Water slicked the pavement and"
5"Her worn leather watch bit"
6"She kept her chin tucked,"
7"The runner favoured the right"
8"Bodies always told."
9"Static crackled in her earpiece."
10"That meant yes until proved"
11"The suspect shot down a"
12"Quinn followed and hit a"
13"Bins lined the brick like"
14"The man ahead kicked one"
15"It rolled at her."
16"She hurdled it, clipped the"
17"He glanced back then."
18"He knew what sat in"
19"He answered with a grin"
ratio0.752
30.30% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences165
matches
0"Now she stood in it,"
ratio0.006
94.59% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences74
technicalSentenceCount5
matches
0"The suspect slapped one hand on a bonnet, vaulted it, and vanished through the spill of red brake lights with the smooth confidence of someone who had run this …"
1"Two men inside watched her streak past with the calm of men who had seen stranger things and charged surge pricing for all of them."
2"Lamps hung from iron hooks and cast amber pools over tables laden with oddments she could not name at a glance, stoppered vials of shifting colour, strings of t…"
3"The name surfaced from interviews, witness statements, mutters from drunks and liars and one terrified accountant who had clawed his own cheeks raw before recan…"
4"From the darkness below the boards came a wet scraping, followed by a low, hungry sound that belonged nowhere in London."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount0
matches(empty)
86.17% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount3
fancyTags
0"Quinn shouted (shout)"
1"he snapped (snap)"
2"someone shouted (shout)"
dialogueSentences47
tagDensity0.085
leniency0.17
rawRatio0.75
effectiveRatio0.128
94.1611%