Run: 2026-03-06-01KK1GGZVGBT2RCSQSSGBDYTT6

Run Details

Model:
GPT-5.4
Duration:
1m 30s
Cost:
$0.056273
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</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> </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 literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. 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
Rory nearly dropped the tray when the man at the end of the bar laughed. Not because the laugh was loud. Soho dealt in loud. It was the shape of it, that old split-note burst she had not heard since Cardiff, since cheap chips on the sea wall and seminar rooms that smelt of damp wool and printer ink, since a life she had cut off so cleanly she had pretended it had never bled. The glasses clinked against one another. A bead of stout ran over her knuckle. Silas looked up from polishing a tumbler. “You planning to baptise the floor, Carter?” “Depends who’s asking.” She set the tray down on the counter and turned before she could think better of it. The man sat half sideways on a stool, one elbow on the wood, speaking to nobody now. His coat was too good for him. Dark wool, sharp cut. His hair, once a wild blond tangle he used to shove under a beanie in lectures, was clipped close at the sides. He had gone lean in the face. The softness had gone. In its place sat clean lines and a pale scar that crossed his chin like a comma somebody had carved in by hand. He looked at her, then through her, then back again. For one second his expression emptied, as if someone had opened a trapdoor under it. “Rory?” She hated the rush in her chest at the sound of it. Hated that her body knew him before her mind had caught up. “Tom.” Silas’s cloth slowed. He never stared in the obvious way. That was one of his gifts. He only tilted his head, signet ring catching the green neon spill from the front windows. “You know each other.” “University,” Rory said. Tom stood. He was taller than she remembered, or perhaps he only knew how to wear height now. Back then he had always folded into himself, shoulders up, grin first, all nerves and jokes and notebooks full of bad poems he swore were placeholders for real work. The man in front of her did not fold. He measured. “Well,” Tom said, and his smile came late, like something remembered rather than felt. “That’s a hell of a thing.” Silas set the glass beneath the bar. “A reunion deserves a proper drink. On the house, if it keeps my staff from shattering anything.” “Very kind,” Tom said. Silas did not answer that. He reached for a bottle. Rory wiped her hand on a bar towel she did not need. “What are you doing here?” “In London? In a bar? Existing in the world? Narrow it down.” “You still dodge direct questions.” “You still ask them like cross-examinations.” Silas placed a whisky in front of Tom, then slid a lime soda towards Rory without asking. He knew the set of her shoulders better than most priests knew prayer. “I’ll be in the cellar,” he said. He did not go to the cellar. Rory knew that from the way his limp faded towards the back room door instead. He would give them privacy and keep one ear on every word. Another gift. Tom lifted the whisky and looked at the room over the rim. The Raven’s Nest always seemed to catch people in the act of pretending they belonged there. The old maps on the walls curled at the edges. Black-and-white faces stared from frames gone nicotine yellow. The green sign outside washed the front tables in a sickly glow, enough to make wedding rings look haunted. “You work here?” he said. “Upstairs and down. Delivery shifts for Golden Empress in the afternoons, bar here at night.” “Practical.” “Rent likes to get paid.” He drank. Not much. Enough to wet his mouth. “You always said you’d leave Cardiff. I did not think you meant like a jailbreak.” She gave him a flat look. “And you always said you’d write a novel and seduce your way through Europe. Yet here you are dressed like a solicitor with a murder charge pending.” The laugh again, softer this time. Real enough to sting. “Investment risk,” he said. “That’s the polite term.” “Polite from whom?” “People in offices with good shoes.” “So, finance.” “Of a sort.” “God. You did change.” “I could say the same.” She rested both palms on the bar. “Could you?” His gaze flicked over her face, then lower, landing for a brief second on the crescent scar at her left wrist where her sleeve had ridden up. He had once kissed that scar in a library alcove on a dare, then blushed so hard she had laughed until the librarian threatened to throw them both out. Now he only looked, then looked away. “You used to fill every silence,” he said. “Now you sharpen them.” “Practice.” “With what?” “Life.” He nodded at that as if it had answered more than it had. Around them the bar muttered on. Glass on wood. A stool scraping. A woman in a red scarf feeding coins into the jukebox and changing her mind before she picked a song. Rory could smell citrus peel, old varnish, and the clean medicinal note of whatever aftershave Tom wore now. Not expensive, she thought. Disciplined. “You vanished,” he said. She barked a short laugh. “Interesting choice of word.” “You left without a goodbye.” “I owed one?” His jaw tightened. There it was, the first crack, a glimpse of the old Tom, who used to feel every slight as if the world had drawn blood in public. “I thought perhaps I’d earned one.” “By doing what exactly?” He set the glass down with care. “By being your friend.” She leaned in before she meant to. “You were my friend. Right up until you got drunk at Rhys Morgan’s flat and told Evan I was planning to leave him.” Tom blinked once. “What?” “Don’t.” Her voice dropped. “Do not stand there and act surprised.” “Rory, I never told Evan anything.” “He knew I had money put aside. He knew I’d looked at trains. He knew about London.” “Because you told half the law building you hated him and wanted out.” “I did not tell them where I was going.” “No, you told me.” The words landed between them with a small hard sound. For the first time since she had turned and recognised him, Tom looked truly unguarded. He frowned, not in defence but in effort, digging through old wreckage. “Eva was there that night,” he said. “So was Nia. Rhys, obviously. Half that course.” “Eva would never.” “I know.” “She got me out.” “I know that too.” Rory felt heat crawl up her throat. Not shame. Not quite. The dangerous cousin of it. She had carried that night for years like a sealed exhibit, labelled and filed, edges fixed. Tom’s confusion pressed a thumb into the label. “Evan said you told him,” she said. Tom’s mouth opened, then shut. He huffed a breath through his nose and looked into the whisky as if it had become suddenly fascinating. “Well,” he said at last, “Evan sounds consistent.” That made her still. “You knew.” Tom lifted his eyes to hers. “I knew he was a liar.” The room seemed to tip by a degree. Not enough to throw her. Enough to make balance an active task. “Why didn’t you say that back then?” “I did.” “No, you didn’t.” “I did, Rory. You were packing a bag with one hand and holding an ice pack to your ribs with the other. Eva had called me because she couldn’t get through the door chain. I said his name and you told me to get out.” Her fingers dug into the towel. She did remember a doorway. Tom’s face beyond it, blurred by tears and adrenaline and the tunnel vision of pain. She remembered shouting. She had not remembered the words. She had built a cleaner version. One villain less complicated. “You came to the flat?” “Yes.” “Why?” That earned her a stare so naked it felt indecent. “Because she called me,” he said. “Because you were hurt. Because despite your recent revisionist work, I was not in the habit of leaving you with men who liked using walls as punctuation.” Rory looked away first. At the far end of the bar, two men argued over football with the forced cheer of people delaying a worse conversation. Someone opened the front door and let in a burst of street noise, taxis hissing by, a woman laughing too hard, the city carrying on as if nobody inside had just found rot in an old foundation. Tom finished the whisky in one swallow now. So much for discipline. “I looked for you after,” he said. “Eva changed my number.” “I know.” “You know a lot.” He gave a thin smile. “Occupational hazard.” “What does that mean?” He turned the empty glass in small circles on the bar. “It means I spend my days finding out what people hide and selling the map to someone richer.” “That still sounds like finance.” “It’s intelligence work for people who call crime logistics.” Silas appeared at the other end of the bar as if the sentence had summoned him. He did not interrupt. He only took a crate of empty bottles from under the sink and listened with his hands busy. Rory watched Tom with fresh care now. The coat. The clipped hair. The measured drink. The scar. The way he always kept one shoulder angled towards the room. “You work for criminals.” Tom shrugged one shoulder. “I work around them. There’s a distinction.” “Made by whom?” “Lawyers, mostly.” “Have you got one on retainer, or do you just speak like one to save money?” His smile sharpened. “There she is.” She hated the relief that flashed through her at the old rhythm. Then hated herself for hating it. Everything with history came double-edged. “What happened to you?” she asked. He leaned back. The stool gave a small complaint under his weight. “Which version do you want? The respectable one or the true one?” “Start with the lie. It’s usually polished.” “I did what sensible people do. Graduate scheme. City office. Glass box. Tiny coffee. A badge that opened doors and shut my throat. Then a partner on my team borrowed a pension fund and fled to Dubai. I told the wrong truth to the wrong man. Lost the job, gained the scar, discovered that if you know how money moves, ugly people will pay well for directions.” “Borrowed a pension fund.” “He stole it.” “Better.” “And you?” he said. “What’s your polished version?” She nearly said, I moved. I worked. I got on with it. Something dry and neat. Instead she looked at his face, saw the old friend under the expensive damage, and found she could not bear neatness. “I left Cardiff because if I stayed, Evan would kill me, or I’d let him make me into someone who’d thank him for it.” Her voice held. Good. “London was Eva’s idea. The restaurant job came through her cousin. The flat came through Silas. I kept my head down. Then I got good at carrying things. Food. Lies. Other people’s secrets.” Tom nodded once. No pity. Bless him for that at least. “And the law?” She let out a breath. “Turns out I only liked the part where bad men lost.” “Rare outcome.” “Exactly.” He tapped the bar with one finger. “You should have finished.” “You should have written the novel.” “Cruel.” “Honest.” “Same thing with better branding.” Silas came over for the empty glass at last. “You want another?” Tom glanced at Rory before he answered. An old instinct. Let her set the pace. It hit her so hard she nearly flinched. “No,” he said. “Need my head.” “Wise for a man in your line.” Tom looked up. “You know my line?” Silas slid the glass away. “I know posture. You scan exits. You drink as if somebody once poisoned a friend. You wear city cloth over dockyard caution. Whatever your title, it isn’t tax adviser.” Tom’s mouth twitched. “And you own a bar.” “Among other modest ambitions.” Rory cut in before that line went any further. “How long are you in London?” Tom answered her, but his eyes stayed on Silas for half a beat too long. “A few days. If business behaves.” “Does it ever?” “No.” She nodded. Good. Keep it light. Keep the old ghosts on short leads. Yet the room had changed. She felt it in the minute pauses, the glances towards the door, the way Silas no longer pretended disinterest. Tom slipped a hand into his coat and drew out a card case. From it he took one plain cream card and set it on the bar between them. No company logo. No grand title. Only a name, Thomas Vale, and a number. She looked at it. “Vale.” He touched his chin scar. “Tom Hughes left university. Thomas Vale pays rent.” “Bit dramatic.” “Says the woman who fled Wales and answers to Rory, Aurora, and whatever else the week requires.” “That’s different.” “Of course it is.” Silas’s gaze dipped to the card, then to Tom’s hand. His expression did not change, but something in the room tightened. Rory followed the line of his sight and saw it at last, stamped blind into the corner of the cream stock, almost invisible unless the light hit it right. A small crest. A circle crossed by three thin lines. Silas put the glass down too hard. It clicked against the wood. “Where did you get that card printed?” Tom’s hand froze on the bar. “Clerkenwell,” he said. “Why?” Silas looked up, all ease gone now, the old operative stepping through the barkeep’s skin so fast it made Rory’s scalp prickle. “Because the man with that mark was in here an hour ago.” Tom went still, not stiff, still, the kind that belonged to prey that knew the hedge had just breathed. “That’s not possible.” Silas’s limp vanished as he reached under the bar. The front door crashed open. Three men came in at once, hard-faced and wrong for the room, and the one in the middle lifted his eyes straight to Tom. “There you are,” he said. “You’ve made this tedious.” Silas brought up a pistol from beneath the counter. Rory snatched the card off the bar just as the first shot shattered the mirror.
created_at"2026-03-06T12:04:00.001Z" 3/6/2026, 12:04:00 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency514
moderation_latency(null)
generation_time89549
tokens_prompt4618
tokens_completion3801
native_tokens_prompt4131
native_tokens_completion3063
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"
usage0.0562725
router(null)
provider_responses
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endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_062ebdf183c4f62c0169aac2b0108c8197a67c5f77f955caf2"
is_byokfalse
latency148
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-1772798640-cymlwPZuTSzh6lunooJs"
upstream_id"resp_062ebdf183c4f62c0169aac2b0108c8197a67c5f77f955caf2"
total_cost0.0562725
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
totalTags20
adverbTagCount0
adverbTags(empty)
dialogueSentences130
tagDensity0.154
leniency0.308
rawRatio0
effectiveRatio0
93.76% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2403
totalAiIsmAdverbs3
found
0
adverb"very"
count1
1
adverb"truly"
count1
2
adverb"suddenly"
count1
highlights
0"very"
1"truly"
2"suddenly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
85.43% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2403
totalAiIsms7
found
0
word"measured"
count2
1
word"flicked"
count1
2
word"silence"
count1
3
word"fascinating"
count1
4
word"weight"
count1
5
word"shattered"
count1
highlights
0"measured"
1"flicked"
2"silence"
3"fascinating"
4"weight"
5"shattered"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"let out a breath"
count1
highlights
0"let out a breath"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences183
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences183
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences293
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen67
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2403
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions34
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions62
wordCount1549
uniqueNames9
maxNameDensity1.68
worstName"Tom"
maxWindowNameDensity3.5
worstWindowName"Tom"
discoveredNames
Cardiff1
Tom26
Silas15
Rory14
Raven1
Nest1
Good2
Thomas1
Vale1
persons
0"Tom"
1"Silas"
2"Rory"
3"Raven"
4"Nest"
5"Thomas"
6"Vale"
places
0"Cardiff"
globalScore0.661
windowScore0.5
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences99
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.416
wordCount2403
matches
0"not in defence but in effort, digging through old wreckage"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount3
totalSentences293
matches
0"Hated that her"
1"kissed that scar"
2"carried that night"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs168
mean14.3
std16.94
cv1.184
sampleLengths
015
174
27
37
43
5101
610
715
81
924
101
1132
124
133
1458
1520
167
1717
184
1910
2017
2112
225
236
2430
257
2636
2765
285
2915
301
315
3224
3333
3410
358
363
376
382
393
404
415
429
4363
4412
451
462
471
4868
494
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences183
matches
0"was clipped"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs273
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences293
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1554
adjectiveStacks0
stackExamples(empty)
adverbCount60
adverbRatio0.03861003861003861
lyAdverbCount12
lyAdverbRatio0.007722007722007722
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences293
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences293
mean8.2
std8.14
cv0.992
sampleLengths
015
16
24
350
46
58
67
77
83
917
1017
117
124
1322
147
154
1623
1710
1815
191
2012
2112
221
233
247
256
2616
274
283
292
3016
3129
329
332
3414
356
367
3717
384
395
405
4112
425
4312
445
456
4617
4713
487
497
50.51% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats17
diversityRatio0.3378839590443686
totalSentences293
uniqueOpeners99
65.79% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences152
matches
0"Then hated herself for hating"
1"Instead she looked at his"
2"Only a name, Thomas Vale,"
ratio0.02
85.79% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount51
totalSentences152
matches
0"It was the shape of"
1"She set the tray down"
2"His coat was too good"
3"His hair, once a wild"
4"He had gone lean in"
5"He looked at her, then"
6"She hated the rush in"
7"He never stared in the"
8"He only tilted his head,"
9"He was taller than she"
10"He reached for a bottle."
11"He knew the set of"
12"He did not go to"
13"He would give them privacy"
14"She gave him a flat"
15"She rested both palms on"
16"His gaze flicked over her"
17"He had once kissed that"
18"He nodded at that as"
19"She barked a short laugh."
ratio0.336
61.97% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount121
totalSentences152
matches
0"Rory nearly dropped the tray"
1"Soho dealt in loud."
2"It was the shape of"
3"The glasses clinked against one"
4"A bead of stout ran"
5"Silas looked up from polishing"
6"She set the tray down"
7"The man sat half sideways"
8"His coat was too good"
9"His hair, once a wild"
10"He had gone lean in"
11"The softness had gone."
12"He looked at her, then"
13"She hated the rush in"
14"Silas’s cloth slowed."
15"He never stared in the"
16"That was one of his"
17"He only tilted his head,"
18"He was taller than she"
19"The man in front of"
ratio0.796
32.89% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences152
matches
0"Now he only looked, then"
ratio0.007
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences55
technicalSentenceCount2
matches
0"For one second his expression emptied, as if someone had opened a trapdoor under it."
1"Someone opened the front door and let in a burst of street noise, taxis hissing by, a woman laughing too hard, the city carrying on as if nobody inside had just…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags20
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags18
fancyCount0
fancyTags(empty)
dialogueSentences130
tagDensity0.138
leniency0.277
rawRatio0
effectiveRatio0
90.8717%