Run: 2026-03-06-01KK1GZTDRV4D053TX5QWYEXS8

Run Details

Duration:
1m 17s
Cost:
$0.040954
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
Aurora caught the pint glass before it rolled off the tray, pinned it against her hip, and shoved the cellar door shut with the heel of her boot. "Careful," Silas said. "That was careful." "That was improvised." She set the fresh glasses on the bar and reached for the next order ticket. The Raven's Nest breathed around her in its usual way, all low murmur and dim corners, old maps watching from the walls as if borders still meant what men said they did. The green neon from the sign outside leaked through the front window and laid a sick glow over the bottles. Someone near the end stool laughed too loud. Someone in the back kept feeding coins into the old jukebox and choosing songs that sounded like confessions. Silas polished a tumbler that did not need polishing. His silver signet ring flashed each time he turned the cloth. "Table three wants another bottle of the Tempranillo," Aurora said. "They can't afford another bottle." "They're ordering like grief's paying." "Then put it on grief's tab." A smile threatened, then went. She pivoted, bottle in hand, and nearly walked into the man who had just stepped through the door. He stopped as if she had struck him. For a second she saw only fragments. A dark coat, too fine for the room. A face sharpened by age rather than softened by it. Hair cut close, fair once, now ash at the temples. Then the rest of him arranged itself into someone she knew so well her body recognised him before her mind did. "Elliot?" His hand tightened on the door edge. The city had put weight in his shoulders and caution in his eyes, but the mouth was the same, that crooked line always half-ready to mock, half-ready to apologise. "Rory." The bottle slipped in her grip. She set it down before glass could announce what her face had not yet decided to. Silas looked up once, took in the silence, and moved to the far end of the bar without a word. He had that gift, seeing where a room bent before it broke. Aurora stared at Elliot Vaughan as if she could outstare the years and force them back into order. Cardiff came at her in scraps, quick and ugly. Library steps. Cheap chips in paper drowned in vinegar. His laugh through cigarette smoke. Her mother's hallway. His hand over hers on a bus window fogged by other people's breath. Then nothing, then all of London between them. "You vanished well," she said. He gave a small nod, as if that charge had already been prepared for and accepted. "So did you." "I moved. That's not vanishing." "No." He let the word sit there. "Not if someone knows where to look." She barked a laugh with no humour in it. "And did you look?" He did not answer at once. He had learned that pause somewhere expensive. It made her dislike him on sight. "Can I buy you a drink?" he said. "You can buy one. I'm working." "Right." He glanced around the bar, taking in the black-and-white photographs, the brass rail, the narrow booths worn smooth by elbows and old lies. His gaze lingered on Silas for half a heartbeat, enough to note the limp, the ring, the posture that suggested bar owner and something else besides. "This your place?" "Above my pay grade." "Still deflecting." "Still noticing." He smiled then, but only with his mouth. "I remember that." She should have taken his order and sent him to a table. She should have made him one more stranger with a tab and a stool. Instead she heard herself say, "What are you drinking?" "Whisky. Whatever won't insult the house." She poured him a decent Islay without asking Silas. When she set it down, Elliot looked at the glass as if she had handed him an artefact from a country that no longer existed. "You remembered." "You used to talk rubbish after two of those." "I still do." "I'll brace myself." He picked up the glass but did not drink. Up close she saw the changes more plainly. Not only the suit under the coat, not only the expensive watch hidden under a neat cuff, though both were there. It was in the care he took with stillness. Elliot had once moved like a match held to dry paper, all flare and appetite. This man wasted nothing. Even his smile came measured, as if too much honesty might trigger an alarm. "You look different," he said. "Older?" "Less breakable." That landed harder than it should have. Aurora folded the order ticket in half, then in quarters, then dropped it under the till. "You don't." "No?" "You look exactly like a man who sends flowers instead of apologies." He took the hit cleanly. "That's fair." "It wasn't meant to be fair." He drank then. The whisky caught in the lines beside his mouth. A pair of regulars waved for service. Aurora raised one finger to hold them off, then hated herself for it. Elliot saw that too. Of course he did. He had always been quick with guilt, his own and everyone else's. "I won't keep you," he said. "Then why are you here?" He turned the glass a fraction on the wood. "Meeting someone." "That sounds safe." "It isn't." There it was. Not the old Elliot, not quite, but the edge beneath him. At university he had known every shortcut, every borrowed key, every debt hidden in every grin. He sold essays to rich boys, fixed small problems for bigger people, and called it surviving. She had loved him anyway, or something near enough to ruin. "You're still doing favours," she said. His eyes met hers. "You're still translating before people speak." "Only when they're obvious." "Was I obvious back then?" "Only to me." A silence opened. One of the men at table three thumped his empty glass down and called for the wine. Silas glided over, supplied it himself, and drifted away again. Aurora felt his restraint like a hand at the small of her back. Elliot leaned on the bar, careful not to seem as if he leaned. "I heard about your father," he said. The room narrowed. "Who told you?" "Eva. A year ago, at a fundraiser." "Fundraiser." Aurora tasted the word and nearly spat. "Of course." He let the insult pass. "I'm sorry, Rory." "Don't be. You didn't kill him." "No. I just failed every simpler task." She looked at him then, properly. The old urge to save him had gone, thank God, but some ghost of it still twitched under her ribs, embarrassed to be caught alive. "What happened to you?" she said. He laughed once. Dry. "How much time have you got?" "I've got a shift." "Then the short version. I left Cardiff. London for a bit. Geneva after that. Then places with cleaner foyers and dirtier money. I learned which fork to use. I learned how men in handmade suits say ruin without raising their voices. I learned that if you stand close enough to power, some of it sticks to your cuffs." "And now?" "And now I come to Soho bars to meet people I'd rather not know." She looked at his hands. No ink. No nicotine stains. Nails trimmed. Knuckles marked by a pale ridge she did not remember. "Who are you meeting?" "You know I won't tell you." "Then don't pretend you're honest now." A muscle shifted in his jaw. "That's not what this is." "No? You walk in after years, say my name like it still fits in your mouth, ask for the old whisky, mention my dead father, and now we're pretending this isn't theatre." His gaze dropped to her wrist where her sleeve had ridden back. The small crescent scar showed white against her skin. He used to trace it when they were nineteen and thought damage made people legible. "You still have that," he said. "That's how scars work." "I remember you said you'd get rid of it." "I said lots of stupid things when I was with you." That should have ended it. Instead he smiled with real pain in it, and that was worse. "There you are," he said softly. "I was wondering when she'd show up." Aurora reached for another glass, wiped a spot that wasn't there, set it down too hard. "Don't talk as if you know me." "I knew you better than anyone." "You knew a girl who mistook being seen for being safe." His hand tightened on the whisky glass. "I never laid a hand on you." The air changed. Not in the room, in her. Something cold and exact clicked into place. "No," she said. "You didn't. Interesting defence." He closed his eyes once, opened them again. "That came out wrong." "It came out fast. That usually means true." "What happened after me," he said, low now, "I heard enough to know I don't deserve to stand here and act wounded." She had not told him about Evan. Not him, not anyone from those years. Yet of course news leaked. People from home passed facts along like stained heirlooms, each pair of hands adding grease. "Heard from whom?" "Eva." "Eva talks too much." "Only when she's frightened." Aurora looked past him to the door. A couple came in laughing, shook themselves out of the street, and claimed a booth. The ordinary act of it annoyed her. Somewhere in the building a crate shifted. Glass clinked. The bar carried on, indifferent. Elliot set down his empty glass. "I looked for you," he said. She snorted. "Where, exactly, after your fundraisers and foyers?" "In hospitals first." Her head jerked. "What?" "After you called that last night. In Cardiff." She stared at him. Deep under the bar, her fingers dug into the shelf. "I never called you." "You did." "I changed my number when I moved." "It was from your old number." "That's impossible." He slid a card from his inside pocket and placed it on the wood between them. Heavy cream stock, embossed lettering, no warmth anywhere on it. She ignored the title under his name and looked at the number scrawled in blue ink across the back. "He left me a voicemail," Elliot said. "A man. Sounded drunk or hurt. He said if I ever owed Aurora Carter anything, I should come to the Raven's Nest tonight and hear what she still didn't know." Aurora did not touch the card. "Who?" "He didn't say." Silas arrived beside her so quietly Elliot shifted before he knew why. The older man looked at the card, then at Elliot. "Problem?" Silas said. "Old friend," Aurora said. "Those tend to be." Elliot straightened. "Mr Blackwood, I presume." Silas's expression did not alter. "You presume for a living?" "Some days." "Unhealthy profession." Aurora watched the two men measure each other. Silas in his plain shirt and rolled sleeves, one hand resting on the bar as if it belonged there. Elliot in his dark coat and polished restraint, built now to survive rooms where every sentence arrived sharpened. Different schools. Same curriculum. "The man who called," Aurora said, cutting through it, "what did he sound like?" Elliot turned back to her. "Educated. South Wales under the drink. He kept stopping for breath." Her mouth dried. "My father is dead." "I know." "No." She heard the crack in her own voice and hated it. "You don't." Silas's eyes moved to her face, sharpened, then to the front door. A man stood just inside it. Nobody had heard him come in. He wore a courier jacket zipped to the throat, helmet under one arm, rain or sweat darkening the collar, hard to tell which under the green spill of the sign. He was too still for a delivery driver. Too intent. His gaze fixed on Elliot, slid to Aurora, then landed on Silas with open recognition. "Bit crowded," the man said. Silas did not move. "Kitchen's shut." "I'm not hungry." The courier lifted the helmet and set it on the nearest table with careful hands. Under it lay a small black dictaphone and a folded white envelope. Every sound in the bar seemed to pull away from that patch of wood. The man nodded at Aurora. "Message for Carter." Elliot's face lost colour. Silas's ring clicked once against the bar. And then the courier reached inside his jacket.
created_at"2026-03-06T12:12:05.96Z" 3/6/2026, 12:12:05 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency480
moderation_latency(null)
generation_time76489
tokens_prompt4618
tokens_completion3155
native_tokens_prompt4131
native_tokens_completion2637
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached3968
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"
usage0.0409545
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_0981f43139c704f80169aac4960be481909539cbd6219692c1"
is_byokfalse
latency204
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-1772799125-8nI90u6L9ZJZpJL5C7WE"
upstream_id"resp_0981f43139c704f80169aac4960be481909539cbd6219692c1"
total_cost0.0409545
cache_discount0.008928
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
totalTags23
adverbTagCount1
adverbTags
0"he said softly [softly]"
dialogueSentences116
tagDensity0.198
leniency0.397
rawRatio0.043
effectiveRatio0.017
97.59% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2073
totalAiIsmAdverbs1
found
0
adverb"softly"
count1
highlights
0"softly"
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)
87.94% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2073
totalAiIsms5
found
0
word"weight"
count1
1
word"silence"
count2
2
word"measured"
count1
3
word"warmth"
count1
highlights
0"weight"
1"silence"
2"measured"
3"warmth"
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
narrationSentences162
matches
0"k with guilt"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences162
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences255
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen58
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2073
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions35
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions51
wordCount1463
uniqueNames10
maxNameDensity1.03
worstName"Elliot"
maxWindowNameDensity3.5
worstWindowName"Elliot"
discoveredNames
Raven1
Nest1
Elliot15
Vaughan1
London1
Silas14
Islay1
God1
Aurora15
Evan1
persons
0"Raven"
1"Nest"
2"Elliot"
3"Vaughan"
4"Silas"
5"Aurora"
6"Evan"
places
0"London"
globalScore0.987
windowScore0.5
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences104
glossingSentenceCount2
matches
0"sounded like confessions"
1"not quite but the edge beneath him"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.965
wordCount2073
matches
0"Not the old Elliot, not quite, but the edge beneath him"
1"not quite, but the edge beneath him"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences255
matches
0"had that gift"
1"learned that pause"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs158
mean13.12
std16.17
cv1.232
sampleLengths
028
13
23
33
493
520
610
75
85
96
1023
118
1256
131
1436
151
1622
1732
1865
195
2016
213
225
2314
249
254
2620
278
286
291
3049
313
324
332
342
3511
3635
376
3834
392
409
413
423
4380
445
451
462
4723
482
491
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences162
matches
0"been prepared"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs261
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences255
ratio0
matches(empty)
85.49% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1467
adjectiveStacks0
stackExamples(empty)
adverbCount83
adverbRatio0.05657805044308112
lyAdverbCount12
lyAdverbRatio0.0081799591002045
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences255
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences255
mean8.13
std6.93
cv0.852
sampleLengths
028
13
23
33
415
532
620
78
818
99
1011
1110
125
135
146
155
1618
178
187
198
2010
2110
2221
231
247
2529
261
276
2816
2920
3012
3118
329
332
347
355
363
3713
388
395
4016
413
425
437
447
459
464
476
487
497
49.02% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats15
diversityRatio0.32941176470588235
totalSentences255
uniqueOpeners84
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount8
totalSentences137
matches
0"Then the rest of him"
1"Then nothing, then all of"
2"Instead she heard herself say,"
3"Not only the suit under"
4"Even his smile came measured,"
5"Of course he did."
6"Instead he smiled with real"
7"Somewhere in the building a"
ratio0.058
71.09% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount51
totalSentences137
matches
0"She set the fresh glasses"
1"His silver signet ring flashed"
2"She pivoted, bottle in hand,"
3"He stopped as if she"
4"His hand tightened on the"
5"She set it down before"
6"He had that gift, seeing"
7"His laugh through cigarette smoke."
8"Her mother's hallway."
9"His hand over hers on"
10"He gave a small nod,"
11"He let the word sit"
12"She barked a laugh with"
13"He did not answer at"
14"He had learned that pause"
15"It made her dislike him"
16"He glanced around the bar,"
17"His gaze lingered on Silas"
18"He smiled then, but only"
19"She should have taken his"
ratio0.372
47.59% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount113
totalSentences137
matches
0"Aurora caught the pint glass"
1"She set the fresh glasses"
2"The Raven's Nest breathed around"
3"The green neon from the"
4"Someone near the end stool"
5"Someone in the back kept"
6"Silas polished a tumbler that"
7"His silver signet ring flashed"
8"A smile threatened, then went."
9"She pivoted, bottle in hand,"
10"He stopped as if she"
11"A dark coat, too fine"
12"A face sharpened by age"
13"Hair cut close, fair once,"
14"His hand tightened on the"
15"The city had put weight"
16"The bottle slipped in her"
17"She set it down before"
18"Silas looked up once, took"
19"He had that gift, seeing"
ratio0.825
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences137
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences58
technicalSentenceCount3
matches
0"The Raven's Nest breathed around her in its usual way, all low murmur and dim corners, old maps watching from the walls as if borders still meant what men said …"
1"The city had put weight in his shoulders and caution in his eyes, but the mouth was the same, that crooked line always half-ready to mock, half-ready to apologi…"
2"Silas in his plain shirt and rolled sleeves, one hand resting on the bar as if it belonged there."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags23
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags20
fancyCount1
fancyTags
0"she heard (hear)"
dialogueSentences116
tagDensity0.172
leniency0.345
rawRatio0.05
effectiveRatio0.017
89.6243%