Run: 2026-03-06-01KK1HF9SYZ81KZD4PXB3A010M

Run Details

Model:
GPT-5.4
Duration:
1m 18s
Cost:
$0.041917
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Thriller genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
“Stop!” The man in the charcoal coat glanced back once, his face a pale smear under a broken shop sign, then shouldered through a knot of late drinkers and ran harder. Detective Harlow Quinn swore under her breath and drove after him, one hand tight on the lapel of her coat, the other near the warrant card in her pocket as if a thin piece of leather could bully the city into opening for her. A couple staggered apart too late. Quinn clipped the man's shoulder, caught herself on a wet bollard, and kept moving. “Police. Out of the way.” No one helped. Soho never did. It watched. It laughed. It sold you a cigarette while you bled. The suspect cut left into a narrow side street glazed with rain and engine shine. Quinn followed, shoes slapping on black pavement, brown eyes fixed on the swing of his coat tails. He was tall, lean, built like someone who expected pursuit and trained for it. Not a panicked dealer. Not a petty thief. He ran with purpose. He also had the brass nerve to look over his shoulder again, as if checking whether she was worth the effort. She was. Her left wrist knocked against a drainpipe. The old leather watch there bit into her skin. She did not look at it. Time only mattered if she lost him. He vaulted a stack of crates outside a closed restaurant. Quinn went over, not around. Her heel skidded on slick wood. A crate split under her weight. Garlic bulbs burst across the alley and rolled into the gutter like small white bones. The suspect hit the mouth of the lane and vanished into traffic. “Come on,” Quinn snapped at the empty air, and burst through after him. Headlamps flared. A taxi braked hard enough to fishtail. “You mad cow!” Quinn slapped a palm on the bonnet, pushed off, and crossed between buses and mopeds. Horns blared. Dirty water sprayed up the backs of her trousers. Across the road, under the lurid green neon of The Raven’s Nest, the suspect shoved through the bar’s front door. Quinn’s jaw tightened. Of course. She had spent six weeks circling that place. Dim windows, old maps on the walls, black-and-white photographs of dead men pretending to smile. Cash-only tills that never matched delivery logs. Patrons who arrived alone and left in pairs, or arrived in pairs and vanished entirely. Too many names tied to too many quiet horrors, all drifting back to Silas’ bar like smoke finding a vent. She hit the door at speed. Music thudded against her chest. A burst of heat and beer fumes swallowed the street stink. The room had that usual dirty glamour, amber light over scarred tables, brass rails polished by nervous hands, a green neon wash from the sign outside making everyone look half-drowned. Glasses clinked. A woman in a velvet jacket laughed too loudly, then saw Quinn and stopped. The barman stared for half a beat too long. “Where did he go?” “Busy tonight, Detective.” Quinn moved past him. “Tall. Charcoal coat. Ran in thirty seconds ago.” “No shortage of coats in Soho.” “Don’t get clever with me.” Her gaze raked the room. Old maps papered the walls, coastlines and borders from countries that no longer existed. Black-and-white faces watched from cheap frames, boxers, brides, soldiers, a child with a hoop. At the back, a shelf of hardbacks stood between two hanging lamps. One spine jutted crooked. The barman saw where she looked and lost his smile. There. Quinn pushed through the crowd. A man rose from his stool as if to block her path. One look from her sat him back down. She reached the bookshelf and caught the faint scrape of movement beyond it, the hush of a closing space. Hidden door. She had known there was one. Never found it. She grabbed the jutting spine and yanked. The whole shelf shifted inward with a groan. “Police,” she said, half to the room, half as a warning to whoever waited below. “Anyone interferes, I start writing names.” No one answered. That worried her more than panic would have. A narrow stair dropped into brick gloom. The smell changed at once. Less beer. More damp earth, candle wax, old stone. Quinn descended two steps at a time, shoulders squared, every movement neat and economical. Military precision, Morris used to call it, with that grin that always made it sound like a joke instead of a scar. At the bottom, the stair opened into a low back room. Empty chairs. A stained table. Burn marks in a metal tray. One bare bulb swung on its cord, not from wind, but from someone passing through moments earlier. The opposite wall stood ajar. Quinn crossed the room and shoved the door wide. Cold air breathed up from a tunnel cut into old Underground service lines. Cable brackets clung to the walls like dead metal ribs. Water dripped in a slow tick-tock from the ceiling. Far ahead, the suspect’s shoes splashed once, then again, retreating into dark. “Last chance,” Quinn called. He laughed. Soft. Confident. It carried back to her as if the tunnel wanted her to hear it. Then another sound drifted up, stranger than laughter, a low market hum from somewhere under the city. Voices layered over voices. The clatter of metal. The sing-song pitch of a trader calling stock. Impossible, down here, and yet there it was. Quinn slowed. This was where sane policing ended. Her hand went to the radio clipped inside her coat. Dead. No signal, or something worse. She checked her mobile. Black screen. Full battery ten minutes ago. “Convenient.” A memory flashed, sharp and unwelcome. Morris on a warehouse floor, blood under him, his eyes fixed on a corner that held nothing Quinn could see. He had tried to speak. She had leaned close. He had managed one word before the light went out of him. Below. She had spent three years pretending that word had a rational home. Sewer level. Basement. Lower deck. Any ordinary answer would do if repeated enough. It had never done. Another footstep echoed ahead. The suspect was still moving. If she turned back now, he would vanish into the same crack that had swallowed every useful lead tied to the Nest. Affairs would become paperwork. Paperwork would become apology. Apology would become a box on a shelf beside Morris’ file. Quinn drew a slow breath and went down. The tunnel bent twice, then widened. Old station tiles emerged from the grime, cream squares crazed with age, station roundels ripped away long ago and leaving ghost circles on the wall. The air grew warmer. The hum swelled into distinct voices, wheels squeaking over stone, coins chiming, somebody arguing in a language Quinn did not know and did not much like hearing. She reached the end of the service passage and stopped dead. The abandoned platform below Camden had become a bazaar. Stalls crowded the tracks and platform edge under strings of mismatched lamps. Tarpaulins in red, blue, and nicotine yellow sagged between pillars. Smoke curled from braziers that gave off sweet rot and burnt herbs. Men and women in sharp city coats haggled beside creatures Quinn refused to define at first glance, too tall, too thin, too still. Glass jars full of things that looked back lined one table. Another displayed knives wrapped in black velvet. A chalkboard advertised teeth by the ounce. The station boards above the platform no longer listed trains. They flickered with symbols that made her eyes ache if she stared. The Veil Market. The name had crossed her desk before, always attached to rumours, psychotic breaks, and witness statements no prosecutor would touch. Underground market. Moves every full moon. Entry by bone token. She had filed it under organised delusion, because the alternative made liars of too many sensible men. Her suspect moved through the crowd below with his head down and no one challenged him. Quinn’s pulse hammered once, hard. Unfamiliar territory. Dangerous territory. No backup. No signal. A hidden population trading in God knew what beneath a major station. Every instinct drilled into her warned against stepping into a place where she did not know the rules. Then she saw the man in charcoal hand something pale and oval to a gatekeeper at the foot of the stair, a token carved from bone. The gatekeeper stepped aside. The suspect glanced up. He had a narrow face, a split lip, and amused contempt in his eyes, as if he had counted on this moment from the start. “Detective,” he called, loud enough to turn a dozen heads. “You’ve come a long way for a wallet thief.” A ripple passed through the nearest traders. Some smiled. Some edged back. Predators making room. Quinn descended the first few steps and kept her voice level. “Good. You can hand yourself in and save us both paperwork.” A woman at a stall of bottled powders laughed into her sleeve. The suspect spread his hands. “Bit late for forms and signatures.” “Then answer one question. What happened to DS Morris?” That landed. His smile thinned. Not gone, but trimmed down to honesty. “Still digging that grave?” “Answer me.” He tipped his head towards the market. “You’re asking at the wrong end of the tunnel.” The gatekeeper moved into proper view. Massive shoulders under a butcher’s apron. Skin the colour of old wax. In one huge hand, he held a chain looped through several carved tokens. Bone clicked against bone when he shifted. “No token,” he said. His voice sounded like bricks dragged over stone. “Police business.” “No token.” Quinn reached the foot of the stair and stopped an arm’s length away. Up close, the smell around him hit her, marrow soup gone sour. “You’re obstructing an officer.” He looked at her worn leather watch, then at her face. “You are not an officer here.” The sentence stirred the crowd. Trade paused without pausing. Heads bent over wares while ears turned towards the stair. A child, or something shaped like one, licked sugar from black fingers and stared at Quinn without blinking. From a stall near the platform edge, a man lifted a hand. “Detective.” Tomás Herrera stepped out from behind a hanging curtain of dried roots, olive skin turned sallow by the station lights. He wore his usual dark jumper under a waxed jacket. Water gleamed on the short curls at his temples. The scar along his left forearm showed where his sleeve had ridden up, pale against skin. Around his neck, a Saint Christopher medallion caught the light and flashed once. Of all faces to meet down here, his was the last Quinn wanted and the one she trusted most to mean trouble had rules. “Herrera.” “You followed him into the Market.” His Spanish lilt thickened when he was tense. “That was a poor idea.” “Join the queue.” His eyes flicked to the suspect, then back to Quinn. “You need a token or an invitation. Without one, they can strip you for parts and call it custom.” The gatekeeper gave a slow, pleased nod, as if he approved of accurate briefing. Quinn held Herrera’s gaze. “You’ve been here before.” “Often enough to know when to leave.” The suspect took another step backwards into the crowd. “Lovely reunion. Shall I go?” Quinn moved at once. The gatekeeper swung the chain up to block her path. She ducked under the first loop, caught the second on her forearm, and drove her shoulder into his chest. He shifted half a step, no more. Like tackling a wall. Pain jarred up her arm. The chain snapped taut. Bone tokens cracked together beside her ear. Herrera cursed and vaulted his stall. “Quinn, don’t.” The suspect laughed and turned. Stalls swallowed him fast. Quinn seized the chain with both hands, twisted hard, and yanked the gatekeeper off balance just enough to open a slit of space. She drove a knee into him, slipped past his hip, and hit the platform running. Shouts erupted at once. A brazier toppled. Sparks sprayed over the tracks. Someone screamed about inventory. A cage full of white rats crashed from a table and burst open across the platform, a living spill of pink tails and needle claws. Traders snatched up boxes and blades. Herrera barreled after Quinn, one hand on his medallion, the other reaching for her coat. “Left!” he shouted. “If he reaches the south tunnel, you lose him.” Quinn cut left between a table of syringes and a butcher’s block piled with dark meat. The market convulsed around her. The suspect glanced back from the far end of the platform, grinned, and lifted a hand. The old station lights went out.
created_at"2026-03-06T12:20:33.231Z" 3/6/2026, 12:20:33 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency470
moderation_latency(null)
generation_time77499
tokens_prompt4663
tokens_completion3301
native_tokens_prompt4132
native_tokens_completion2701
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"
usage0.041917
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_0c8cd88d2a0f5c9a0169aac6914c808196b8656ad4c22c3509"
is_byokfalse
latency170
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-1772799633-GtK6WWMa3FqYWh7JQSQf"
upstream_id"resp_0c8cd88d2a0f5c9a0169aac6914c808196b8656ad4c22c3509"
total_cost0.041917
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
adverbTagCount0
adverbTags(empty)
dialogueSentences38
tagDensity0.237
leniency0.474
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2125
totalAiIsmAdverbs0
found(empty)
highlights(empty)
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
76.47% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2125
totalAiIsms10
found
0
word"weight"
count1
1
word"velvet"
count2
2
word"gloom"
count1
3
word"echoed"
count1
4
word"flickered"
count1
5
word"pulse"
count1
6
word"grave"
count1
7
word"lilt"
count1
8
word"flicked"
count1
highlights
0"weight"
1"velvet"
2"gloom"
3"echoed"
4"flickered"
5"pulse"
6"grave"
7"lilt"
8"flicked"
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
narrationSentences218
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount1
narrationSentences218
filterMatches
0"watch"
1"look"
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences249
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2125
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
75.22% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions52
wordCount1939
uniqueNames16
maxNameDensity1.5
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn29
Headlamps1
Raven1
Nest2
Morris2
Underground2
Camden1
Veil1
Market1
God1
Herrera4
Saint1
Christopher1
Spanish1
One3
persons
0"Harlow"
1"Quinn"
2"Headlamps"
3"Raven"
4"Morris"
5"Camden"
6"Herrera"
7"Saint"
8"Christopher"
9"One"
places
0"Nest"
1"Market"
globalScore0.752
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences133
glossingSentenceCount2
matches
0"as if checking whether she was worth the effort"
1"sounded like bricks dragged over stone"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.941
wordCount2125
matches
0"not from wind, but from someone passing through moments earlier"
1"Not gone, but trimmed down to honesty"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences249
matches
0"circling that place"
1"pretending that word"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs103
mean20.63
std21.43
cv1.039
sampleLengths
01
174
220
35
418
579
62
729
842
912
1013
119
123
1346
143
152
1665
176
1862
199
204
213
2212
236
245
2549
2610
271
2855
297
308
3121
3211
3357
3444
359
3644
374
3818
3941
402
4133
421
4347
441
4529
4650
478
4862
4911
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences218
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs331
matches
0"was still moving"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences249
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount512
adjectiveStacks0
stackExamples(empty)
adverbCount17
adverbRatio0.033203125
lyAdverbCount4
lyAdverbRatio0.0078125
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences249
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences249
mean8.53
std6.54
cv0.766
sampleLengths
01
130
244
36
414
55
63
73
82
92
108
1115
1217
1314
144
154
164
1721
182
197
209
216
227
2310
245
256
266
2715
2812
2913
302
317
323
3315
342
359
3620
373
382
398
4015
417
4215
4320
446
455
4611
4730
482
4914
69.48% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats12
diversityRatio0.4457831325301205
totalSentences249
uniqueOpeners111
71.30% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences187
matches
0"Too many names tied to"
1"More damp earth, candle wax,"
2"Then another sound drifted up,"
3"Then she saw the man"
ratio0.021
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount39
totalSentences187
matches
0"It sold you a cigarette"
1"He was tall, lean, built"
2"He ran with purpose."
3"He also had the brass"
4"Her left wrist knocked against"
5"She did not look at"
6"He vaulted a stack of"
7"Her heel skidded on slick"
8"She had spent six weeks"
9"She hit the door at"
10"Her gaze raked the room."
11"She reached the bookshelf and"
12"She had known there was"
13"She grabbed the jutting spine"
14"she said, half to the"
15"It carried back to her"
16"Her hand went to the"
17"She checked her mobile."
18"He had tried to speak."
19"She had leaned close."
ratio0.209
58.93% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount150
totalSentences187
matches
0"The man in the charcoal"
1"Detective Harlow Quinn swore under"
2"A couple staggered apart too"
3"Quinn clipped the man's shoulder,"
4"Soho never did."
5"It sold you a cigarette"
6"The suspect cut left into"
7"Quinn followed, shoes slapping on"
8"He was tall, lean, built"
9"He ran with purpose."
10"He also had the brass"
11"Her left wrist knocked against"
12"The old leather watch there"
13"She did not look at"
14"He vaulted a stack of"
15"Quinn went over, not around."
16"Her heel skidded on slick"
17"A crate split under her"
18"Garlic bulbs burst across the"
19"The suspect hit the mouth"
ratio0.802
26.74% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences187
matches
0"If she turned back now,"
ratio0.005
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences79
technicalSentenceCount4
matches
0"Detective Harlow Quinn swore under her breath and drove after him, one hand tight on the lapel of her coat, the other near the warrant card in her pocket as if …"
1"A man rose from his stool as if to block her path."
2"Morris on a warehouse floor, blood under him, his eyes fixed on a corner that held nothing Quinn could see."
3"The gatekeeper gave a slow, pleased nod, as if he approved of accurate briefing."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags9
uselessAdditionCount0
matches(empty)
97.37% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount2
fancyTags
0"Quinn snapped (snap)"
1"he shouted (shout)"
dialogueSentences38
tagDensity0.158
leniency0.316
rawRatio0.333
effectiveRatio0.105
92.5169%