Run: 2026-03-06-01KK1H8XX3QVM6Q9QSHDXKJPC2

Run Details

Model:
GPT-5.4
Duration:
1m 26s
Cost:
$0.042235
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Mystery 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="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <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> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. 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
“Hold that lift.” The constable jammed a boot between the closing doors and stared as Detective Harlow Quinn ducked under the sagging yellow tape. Her coat brushed a rusted grille. Her worn leather watch flashed once as she checked the corridor beyond the service lift, then stepped out into the dead station with the clipped, exact gait that made junior officers move before she asked. Camden had a dozen buried places the city liked to forget. This one had spent years sealed behind a false wall beneath a shuttered music shop. Tonight it held a corpse, six patrol units, one forensic team, and the stale reek of old dust disturbed by too many shoes. “DI Quinn.” Sergeant Bell peeled away from the platform edge and handed her a scene log. “Male, mid-thirties, no ID on him. Found by urban explorers, if you can believe that. They legged it when they saw the body, then one of them had the sense to ring it in.” “Cause?” Bell glanced towards the tracks. “Looks like a fall.” “Looks like.” He cleared his throat. The platform opened out ahead of them in a broad curve tiled in cream squares gone nicotine yellow with age. Old adverts still clung to the walls in strips and islands, bright smiles eaten by mildew. A line of disused kiosks squatted behind steel shutters. Someone had strung fairy lights through one archway at some point, and half of them still hung there like a dead constellation. The place had the wrong kind of life to it, recent and hidden. Crushed cigarette ends. Wax drips. A takeaway carton. The soft scuff of traffic over secrets. Forensics had lit the track bed with two portable lamps. Their hard white glare cut across the rails and the body sprawled between them. DS Imran Vale stood beside the nearest light, hands in his pockets, tie loose, looking as if he had slept in his suit and regretted it. He had a narrow face and a habit of speaking like every sentence came with footnotes. “Sheared neck, skull fracture, compound break to the right arm,” he said as Quinn climbed down from the platform. “The explorers heard a shout from above. They thought drunk, prank, usual underground nonsense. Then they found him. Open and shut.” Quinn crouched by the dead man without answering. He lay on his back at an angle no fall would choose for itself. One shoe had gone. His shirt, a pale blue office number, was torn at the cuff. Blood had pooled under the back of his head and run into the ballast in dark threads. One lens from his glasses glittered near the rail. His left hand was closed. Not clenched in pain, Quinn thought. Closed around something before impact. “Wallet?” “Nothing. Pockets turned out. Could be robbery after the fall.” “Could be.” Vale gave Bell a look that said here we go. Quinn leaned lower. Copper stung her nose beneath the deeper smell of damp concrete and machine grease. The man’s jaw had broken when he hit, but his lower lip showed bruising that came first, a dark crescent pressed into flesh. She touched the collar, careful not to disturb the blood. Fine grit. White. Not plaster. Salt? No. Bone dry, chalky, with a faint shimmer under the lamp. “You’ve all looked up, I assume.” Vale pointed. “There. Old maintenance gantry. Twelve metres, give or take. Rail’s loose. We found fresh scrape marks.” Quinn stood and followed the beam of his torch. The gantry crossed part of the tunnel mouth beyond the platform, a narrow iron catwalk bolted into the wall. One section of the handrail hung bent outward. “Fresh?” “Metal’s bright.” “Mm.” She walked the track bed, not towards the body first but away from it, towards the point where a fall from the gantry would have landed. Bell hurried after her, notebook open. Vale stayed where he was, patient in the way of men who had already decided they were right. The stones shifted under her soles. A rat skeleton lay between sleepers, clean and old. Near the projected impact point she stopped, then looked back at the corpse. “No.” Bell blinked. “Ma’am?” “He didn’t land here.” Vale sighed from behind her. “Gravity says he did.” “Then gravity moved him three feet sideways and turned him ninety degrees.” She pointed with two fingers. “A fall from there drops him close to the left rail. He’s lying almost parallel to it. His feet point to the platform wall. If he bounced, I want the marks. If someone dragged him, I want that too.” Bell frowned at the ballast. One of the SOCOs, a compact woman with powder on her gloves, leaned in. “There is disturbance, ma’am. I marked a trail, but it’s slight. I assumed post-impact movement.” Quinn looked at the numbered tags she had not yet been shown. Two on the stones. One by the missing shoe. Another beside a smeared patch near the platform lip. “Assumed by whom?” The SOCO glanced at Vale. He spread his hands. “Because a body falls badly in a place like this, then slips.” “On ballast.” “It happens.” “Not like that.” Quinn stepped back to the corpse and looked at the platform edge above him. The yellow line had faded to a ghost. Near one broken tile she spotted a tiny crescent of dark wax. “Who found the wax?” “Wax?” Bell said. She climbed onto the platform in one clean motion and crouched by the tile. More of it clung in the grout, black with a violet sheen when the forensic lamp struck it. Vale joined her at last. “Candles. Kids come down here for seances and drugs. Camden’s full of performance.” “Kids don’t usually carry black ritual wax.” Quinn rubbed two gloved fingers together and felt a greasy residue. “And they don’t rob a man after he falls unless they’re interrupted. Where are the drag marks on the platform?” Bell looked from one to the other. “You think he was killed up here.” “I think he was hurt up here, moved, then dropped.” Vale folded his arms. “That’s neat. It also needs people, time, and motive. We have one damaged rail and a dead man in a hole. Simpler answer wins.” “Simpler answer loses if it’s wrong.” Her gaze moved past him to the shuttered kiosk under the archway. Its metal front bore an old stencil, refreshments, tea, cigarettes, the sort of thing the station had not sold in forty years. The padlock on the shutter looked new. Scratches scarred the paint around it, but not from tonight. Recent use. Hidden in plain sight. “Who searched the kiosks?” Bell hesitated. “No one yet. We secured the body first.” Quinn did not snap. She only held out her hand. Bell gave her the evidence torch. She crossed the platform and shone it low across the concrete. Scuffs criss-crossed the dust in broad arcs, too many to sort at first glance. Then a pattern emerged, a narrow wheel track, two lines, shallow but steady, leading from the archway towards the place above the body. Not a trolley from London Transport. Wrong spacing. Smaller. “Come here.” Bell bent beside her. “Say it out loud.” He followed the tracks. “Something rolled from the kiosk to the edge.” “And back?” He swallowed. “No return track.” “Good.” Vale remained by the corpse, jaw set. “A market stall. Urban explorer kit. Film crew rubbish. Pick your hobby.” Quinn ignored him and played the torch over the shutter. A smear marked the lower edge. Dark, tacky, not blood. She crouched and brought her face closer. Herbs. Burnt resin. A sweet rot beneath it, like flowers left too long in a sealed room. The smell hooked at memory, old and unwelcome. Not memory exactly. A trace. The same wrong sweetness that had clung to DS Morris’s coat the night they pulled his body from a warehouse in Limehouse, the official report neat and useless, the truth lodged somewhere outside language. Her expression did not shift. “Get this open,” she said. Bell looked at the new padlock. “We’ll need authorisation.” “You’ve got it.” Two uniforms fetched bolt cutters from the van. Metal shrieked. The lock snapped. One officer rolled the shutter up halfway, then recoiled at once. “Christ.” The inside of the kiosk glimmered. Not with stock, not with rubbish, but with dozens of objects arranged on shelves built after the station closed. Brass charms. Stoppered bottles. folded velvet cloths. A tray of teeth. Strings of dried things Quinn did not care to name. In the centre sat a small table under a stained green lamp, and on that table lay a brass compass no larger than a palm, its face etched with minute sigils greened by verdigris. The needle spun so fast it blurred. No one spoke for a beat. Then Vale laughed once, sharp and unbelieving. “All right. That’s theatrical.” Bell stared. “What is this place?” Quinn’s eyes moved over the cramped room, taking inventory. The shelves had not toppled. No signs of panic. One stool lay on its side. On the floor, chalk circles had been scuffed by hard shoes. A ledger sat half open beside the compass, one page torn out. Fresh. “Bag nothing until I say,” Quinn said. The SOCO at her shoulder bristled. “With respect, that’s not procedure.” “Procedure didn’t build this under a Tube station.” She stepped inside. Dust did not coat the surfaces here the way it did outside. The room saw use, frequent and careful. A hidden trade. A hidden meeting. Her gaze landed on the back wall where an old tiled service door had been painted over in black. At first it looked flat. Then the torchlight caught a seam in the darkness, not a crack in paint but depth, as if the wall had once been opened and persuaded to close again. The brass compass clicked and its needle snapped towards that painted door. Bell heard it too. “Did that just move?” Quinn lifted the compass with two fingers. The casing felt warm, faintly vibrating, like machinery far underground. Protective sigils ringed the face in patterns she did not know but disliked on sight. Vale stepped up behind her. “You’re not about to tell me this toy points to ghosts.” “No.” Quinn angled it, watched the needle strain back to the same spot. “I’m about to tell you our victim didn’t wander in here by chance.” She nodded to the ledger. Bell photographed the pages while she read the visible entries. No names, only symbols, dates, sums, and coded notes in a cramped hand. One line had been pressed hard enough to leave an imprint on the page beneath the missing sheet. Bell slid a pencil across the paper and shaded lightly. Indented words rose. BONE TOKEN, two. PASSAGE, one. COMPASS HELD. PAYMENT ON DELIVERY. Vale leaned over despite himself. “Delivery of what?” “Information, if they were civilised,” Quinn said. “Something uglier if they weren’t.” She set the compass down and examined the stool. One leg carried a smear of blood at seat height. Not much. Enough for a split lip. The dead man had bled here before he bled on the tracks. On the floor near the stool lay his missing lens. That settled it. “He met someone in this kiosk,” she said. “An exchange went wrong. He was struck, searched, and taken outside. The body was dropped to mimic a fall.” Vale crouched and touched the floor beside the chalk circle. “Then where are the drag marks from here to the platform?” “Not drag marks. Wheels.” She followed the twin tracks again, now visible as they cut through the thin dust outside and ended at the edge above the body. A small cart. A hand truck. Something with two narrow tyres. Bell’s notebook shook in his hand from the effort of writing fast enough. “The urban explorers said they heard a shout. One shout.” “Then he was alive when they moved him.” Vale’s face changed at last. Not belief yet. Calculation. “If they used a cart, where is it?” A metallic clatter answered from beyond the painted service door. Everyone froze. Another sound followed, softer, a scrape from the far side of the black wall, then the low grind of some hidden mechanism waking after a long sleep. The seam in the painted tiles brightened, not with light, but with a thin line of moving dark, as if the shadow itself had started to part. Bell took one step back. “Ma’am.” The compass needle spun wild in its dish. Then the wall opened a hand’s breadth, and something on the other side breathed out the same sweet, rotten scent Quinn remembered from Morris’s coat.
created_at"2026-03-06T12:17:04.437Z" 3/6/2026, 12:17:04 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency435
moderation_latency(null)
generation_time85711
tokens_prompt4671
tokens_completion3321
native_tokens_prompt4157
native_tokens_completion2718
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"
usage0.0422345
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_0cf41425b5db85c50169aac5c07fe48195a6a2ee6eff2aed45"
is_byokfalse
latency143
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-1772799424-w5LSmsxjHN3f5ezE2ux6"
upstream_id"resp_0cf41425b5db85c50169aac5c07fe48195a6a2ee6eff2aed45"
total_cost0.0422345
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
totalTags9
adverbTagCount1
adverbTags
0"Sergeant Bell peeled away [away]"
dialogueSentences70
tagDensity0.129
leniency0.257
rawRatio0.111
effectiveRatio0.029
97.64% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2118
totalAiIsmAdverbs1
found
0
adverb"lightly"
count1
highlights
0"lightly"
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)
92.92% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2118
totalAiIsms3
found
0
word"velvet"
count1
1
word"etched"
count1
2
word"coded"
count1
highlights
0"velvet"
1"etched"
2"coded"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences184
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences184
filterMatches
0"watch"
hedgeMatches
0"started to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences245
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen39
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2118
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions14
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions67
wordCount1623
uniqueNames11
maxNameDensity1.11
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Quinn"
discoveredNames
Detective1
Harlow1
Quinn18
Bell18
Imran1
Vale14
London1
Transport1
Morris2
Limehouse1
One9
persons
0"Harlow"
1"Quinn"
2"Bell"
3"Vale"
4"Morris"
places
0"London"
1"Limehouse"
2"One"
globalScore0.945
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences105
glossingSentenceCount0
matches(empty)
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches5
per1kWords2.361
wordCount2118
matches
0"not towards the body first but away from it, towards the point"
1"Not with stock, not with rubbish, but with dozens of objects arranged on shelves built after the s"
2"not with rubbish, but with dozens of objects arranged on shelves built after the s"
3"not a crack in paint but depth, as if the wall had once been opened"
4"not with light, but with a thin line of moving dark, as if the shadow itself had"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences245
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs109
mean19.43
std20.71
cv1.066
sampleLengths
03
162
249
350
41
59
62
74
895
924
1042
1140
128
1372
141
1510
162
1710
1867
196
2018
2136
221
232
241
2550
2628
271
283
294
309
3112
325
3339
345
3529
3630
373
385
3916
402
412
423
4334
444
453
4632
4718
4838
4914
93.82% Passive voice overuse
Target: ≤2% passive sentences
passiveCount6
totalSentences184
matches
0"was torn"
1"been shown"
2"been scuffed"
3"been painted"
4"been opened"
5"been pressed"
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
totalSentences245
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1624
adjectiveStacks1
stackExamples
0"same sweet, rotten scent"
adverbCount41
adverbRatio0.025246305418719212
lyAdverbCount5
lyAdverbRatio0.003078817733990148
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences245
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences245
mean8.64
std7.32
cv0.847
sampleLengths
03
121
26
335
411
515
623
716
834
91
105
114
122
134
1420
1516
169
1722
1813
193
202
213
227
2310
2414
2526
2616
2719
2821
298
3014
314
3212
3317
349
355
366
375
381
3910
402
4110
423
4314
4423
4510
462
471
482
491
68.44% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats4
diversityRatio0.4204081632653061
totalSentences245
uniqueOpeners103
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences153
matches
0"More of it clung in"
1"Then a pattern emerged, a"
2"Dark, tacky, not blood."
3"Then Vale laughed once, sharp"
4"Then the torchlight caught a"
5"Then the wall opened a"
ratio0.039
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount26
totalSentences153
matches
0"Her coat brushed a rusted"
1"Her worn leather watch flashed"
2"He cleared his throat."
3"Their hard white glare cut"
4"He had a narrow face"
5"he said as Quinn climbed"
6"He lay on his back"
7"His shirt, a pale blue"
8"His left hand was closed."
9"She touched the collar, careful"
10"She walked the track bed,"
11"She pointed with two fingers."
12"He spread his hands."
13"She climbed onto the platform"
14"Her gaze moved past him"
15"Its metal front bore an"
16"She only held out her"
17"She crossed the platform and"
18"He followed the tracks."
19"She crouched and brought her"
ratio0.17
93.99% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount112
totalSentences153
matches
0"The constable jammed a boot"
1"Her coat brushed a rusted"
2"Her worn leather watch flashed"
3"Camden had a dozen buried"
4"This one had spent years"
5"Tonight it held a corpse,"
6"Sergeant Bell peeled away from"
7"Bell glanced towards the tracks."
8"He cleared his throat."
9"The platform opened out ahead"
10"A line of disused kiosks"
11"Someone had strung fairy lights"
12"The place had the wrong"
13"A takeaway carton."
14"The soft scuff of traffic"
15"Forensics had lit the track"
16"Their hard white glare cut"
17"DS Imran Vale stood beside"
18"He had a narrow face"
19"he said as Quinn climbed"
ratio0.732
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences153
matches(empty)
ratio0
88.74% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences66
technicalSentenceCount5
matches
0"Her worn leather watch flashed once as she checked the corridor beyond the service lift, then stepped out into the dead station with the clipped, exact gait tha…"
1"DS Imran Vale stood beside the nearest light, hands in his pockets, tie loose, looking as if he had slept in his suit and regretted it."
2"Vale gave Bell a look that said here we go."
3"The same wrong sweetness that had clung to DS Morris’s coat the night they pulled his body from a warehouse in Limehouse, the official report neat and useless, …"
4"The seam in the painted tiles brightened, not with light, but with a thin line of moving dark, as if the shadow itself had started to part."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags9
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount0
fancyTags(empty)
dialogueSentences70
tagDensity0.086
leniency0.171
rawRatio0
effectiveRatio0
90.4293%