Run: 2026-03-06-01KK1HKZ0X2MZ58C34PDSV3VAR

Run Details

Duration:
1m 8s
Cost:
$0.047563
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
“Don’t touch the coins.” Detective Harlow Quinn ducked under the police tape and caught the uniform’s wrist before his gloved hand reached the scatter of old silver on the tiled floor. The young constable froze, colour rising under his collar. “Sorry, ma’am.” “Be sorry before you contaminate a scene, not after.” She let go and stepped into the dead station. The abandoned platform beneath Camden had the stale breath of sealed places, rust, damp brick, old oil. Their lamps cut narrow lanes through dust and soot. Beyond the tape, a vending machine lay on its side with its glass kicked in. A bench had been dragged at an angle across the platform as if someone had built a barricade and quit halfway through. On the wall opposite, a faded roundel still clung to the tiles, half lost under black mildew and graffiti. Yet the body was what held the room together. Everything else orbited that. A man in a good navy wool coat lay beside the tracks with one arm bent under him and the other stretched towards the lip of the platform. His fingers had stopped a hand’s breadth from a brass compass. Dark blood had dried in a fan under his head, but not much of it. The real damage sat higher. A ring of bruising marked his throat, ugly and deep, as if something had closed there with perfect force. Quinn crouched. Her worn leather watch pressed against her wrist bone as she leaned in. Brown eyes moved from the bruises to the dead man’s nails, the cuff of his shirt, the polished shoes dusted white at the toes. “Name?” “Still confirming,” said Sergeant Bell from behind her. “No wallet. No phone. Uniforms found him after reports of trespassers above ground. We came down, found this lot.” Bell had a broad face and a patient voice made for wrong theories. He stood with his hands on his hips, boots planted wide, already settled on his version. A forensic photographer flashed the scene in bursts that made the dead man seem to twitch. “What’s your version?” Quinn asked. Bell nodded towards the coins. “Rough sleepers. Druggies. Urban explorers, if you want the middle-class term. They cornered him, tried to rob him. He resisted. One of them strangled him with a cord. Dropped a few weird props. Camden being Camden.” Quinn looked at the coins. Six pieces of silver, tarnished and thin, none minted in any reign she knew. Each one had a square hole in the centre, old as burial dirt. They formed no obvious pattern. Too neat for a dropped purse, too scattered for ceremony. “Cord leaves lines,” she said. “This doesn’t.” Bell shrugged. “Hands, then.” “Hands leave thumbs.” “Strong grip.” “There’s no hyoid displacement from here, no torn collar, no skin under his nails. He didn’t fight like a man getting strangled by another man.” Bell gave a little smile. “From here.” Quinn ignored that. She shifted her light to the brass compass. Small enough for a pocket, greened with verdigris, its face etched with minute sigils instead of cardinal points. The needle trembled, then swung hard east, held, quivered, and tugged again as if a magnet pulsed in the tunnel wall. She did not touch it at once. “Who found the compass first?” “Constable Reed. He says it was by the hand.” “Did anyone move it?” “No.” “Good. One of you finally loves me.” That drew a brief laugh from the photographer, then silence again. Quinn stood and scanned the platform edges, the broken vending machine, the bench, the far tunnel mouth. Her military bearing made stillness look like action. She took in the brickwork above the body. Fresh scoring marked the soot there, five narrow cuts in a downward rake. Not knife marks. Too shallow in places, too deep in others. The tiles below carried black smears that shone when the lamp caught them. She crossed to them. Bell followed. “What now?” “Now I look.” She bent close. The smear looked like grease until the beam revealed iridescent skin on its surface, a dark oil with a faint blue sheen. It smelled wrong, sweet first, then rotten, like flowers left in a butcher’s bin. Quinn scraped a trace onto a swab. “Train residue,” Bell said. “From a line shut in the nineties?” “Oil lasts.” “This glows.” Bell’s jaw tightened. “That’s the torch.” “No. It isn’t.” A call came from farther up the platform. “Guv, you’ll want this.” Quinn turned. Davies, crime scene tech and incurable gossip, held up an evidence bag with two objects inside, a torn coat button and a small white chip. Quinn walked over. The floor here showed a churn of prints in the dust, but only in one patch, a frantic knot near a maintenance door hanging ajar. Davies lifted the bag. “Button came from the victim’s coat. This bit was in the dust. Bone, I think.” Quinn took the bag and held it to the light. Not bone. Too smooth. Carved. A token fragment, polished on one side, scored on the other with a tiny crescent line. “Where exactly?” “By the door. Also found this.” He pointed to the jamb. A white scrape marked the old paint, as if something hard and narrow had struck it. Lower down, another black iridescent smear glistened in the groove where door met frame. Bell glanced between them. “So he was dragged from the service corridor. Makes sense. They attack him in there, dump him here.” Quinn pushed the maintenance door wider with her shoe. The corridor beyond sank into brick darkness, lined with old cables, discarded signs, and the brittle smell of plaster dust. Her lamp caught footprints, yes, but not a drag mark. No heel furrows. No broad scuff from dead weight. The dust broke in clean footfalls and one odd pattern, a crescent bite pressed at intervals beside the prints, as if a walking stick had a hooked ferrule. “Not dragged,” she said. Bell exhaled through his nose. “Moved under the arms.” “Then I’d still have a sweep in the dust.” “You’ve got half a sweep there.” “I’ve got Bell’s imagination there.” She stepped into the corridor. The noise of the scene fell back. In the narrow space, every sound sharpened, the click of camera gear, a distant drip, someone’s radio hissing above on the street. A few yards in, the corridor opened into what had once been a ticket hall for staff, or a storeroom. Mold climbed the walls in dark maps. Shelves sagged under rotten cardboard boxes. Someone had brought in newer things, though. Melted candle stubs on a crate. Chalk on the floor. Burn marks in a shallow metal bowl. Bell came in behind her and gave a low whistle. “There we are. Junkies and séance enthusiasts.” Quinn swept her light over the chalk marks. Not random. Three concentric circles, broken at one point, crossed by lines and symbols. Some had been smudged by shoes, but one segment remained clean enough to read. Not a pentagram. Not any occult theatre from a late-night internet forum either. The symbols had structure. Repetition. Intent. On the crate beside the candles lay a paper slip folded into quarters. Quinn picked it up with forceps and opened it. A pencilled list. No names, just objects. Ash glass Salt Mirror shard Bone token Compass Bell peered over her shoulder. “Shopping list.” “Perhaps.” “Fancy one.” The last word on the list had been underlined twice. Compass. Quinn folded the paper back. “Get this bagged.” Davies, now at the doorway, nodded and moved in. Quinn circled the room. On the far wall, behind a stack of broken panels, she found another mark, cut into brick with care. A vertical slit inside an oval, then three short strokes below it. The black iridescent residue stained the mortar around it, thicker here, as if something had seeped out of the wall itself. Her throat tightened. Not fear, not exactly. Recognition without a name. Three years ago DS Morris had died in a warehouse in Poplar with the same wrongness hanging in the air, evidence that lined up neatly until you touched it and the whole shape collapsed. A locked room that had not been locked. Footprints that stopped at bare concrete. A witness who swore Morris had spoken to someone standing in an empty doorway. Quinn had spent months tearing at that case until superiors pulled it from her hands and buried it under procedure, grief leave, and professional concern. She crouched by the wall mark and looked at the floor beneath it. There. Fine dust disturbed in a crescent arc. And beside it, another scatter of silver coins, three this time, tucked under the shelf as if kicked there. Not random on the platform after all. A trail. “Bell.” He came to her, slower now. “What?” “Count the coins on the platform again.” He frowned. “Six.” “And here?” “Three.” “Nine in total.” “So?” She pointed to the chalk circles. “Break in the outer ring at one point only. Doorway shape. List mentions a bone token and a compass. Our victim reaches for the compass when he dies. There’s no wallet because robbery wasn’t the point. His coat is good wool, shoes polished, nails clean. Not a drifter, not a thrill seeker. He came here for business.” “Business with what, exactly?” Bell asked, flat now, irritation shading into caution. Quinn stood. “That’s the useful question.” Davies spoke up. “There’s chatter about this station, guv. Urban legend stuff. Hidden market. People swap ghost junk and cursed wedding rings.” Bell snorted. “Brilliant. We’re on fairy stories.” Quinn did not look at him. “Who told you?” “An informant from Kentish Town. Wouldn’t say it sober, mind.” “Did he mention entry?” Davies scratched his cheek. “Said you need a token. Bone, he said. Thought he was winding me up.” Quinn held up the evidence bag with the carved white fragment. Bell’s face lost some colour. “Seal this room,” she said. “No one in without my say.” Bell crossed his arms. “On what grounds? A rumour and a decorative compass?” “On the grounds that our victim walked into a dead station carrying specialist equipment and a missing piece of carved bone. On the grounds that his throat was crushed without the marks I’d expect from human hands. On the grounds that somebody set up a working in this room, or staged one with expert detail. Pick the explanation you can stomach. Either way, this isn’t a mugging.” Bell stared at the wall mark. “You’re serious.” “Yes.” He glanced back towards the platform. “Then where are the killers?” Quinn took the compass at last, careful through the cloth of her glove. The brass felt warmer than the room. The needle spun so fast it blurred, then snapped away from the platform and pointed into the brick wall with the cut mark, dead steady. No one spoke. Davies swallowed. “That’s not right.” “No,” Quinn said. “It isn’t.” A tremor shivered through the wall. Dust sifted from the mortar in a pale veil. One of the hidden silver coins skittered across the floor with a thin metallic chirr. The black stain in the brick swelled, glossy and wet, and a crack raced through the oval mark as if something on the far side had hooked a claw into the seam and pulled.
created_at"2026-03-06T12:23:06.03Z" 3/6/2026, 12:23:06 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency563
moderation_latency(null)
generation_time67930
tokens_prompt4671
tokens_completion3013
native_tokens_prompt4157
native_tokens_completion2478
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.0475625
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_0b2d8fe5937f68d70169aac72a1f0881958b435942fccfa02a"
is_byokfalse
latency200
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-1772799786-V1evHJuRRlYFLFEyJ0hM"
upstream_id"resp_0b2d8fe5937f68d70169aac72a1f0881958b435942fccfa02a"
total_cost0.0475625
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags7
adverbTagCount0
adverbTags(empty)
dialogueSentences70
tagDensity0.1
leniency0.2
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1888
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)
68.22% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1888
totalAiIsms12
found
0
word"perfect"
count1
1
word"etched"
count1
2
word"trembled"
count1
3
word"quivered"
count1
4
word"pulsed"
count1
5
word"silence"
count1
6
word"scanned"
count1
7
word"churn"
count1
8
word"weight"
count1
9
word"structure"
count1
10
word"stomach"
count1
11
word"raced"
count1
highlights
0"perfect"
1"etched"
2"trembled"
3"quivered"
4"pulsed"
5"silence"
6"scanned"
7"churn"
8"weight"
9"structure"
10"stomach"
11"raced"
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
narrationSentences148
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount1
narrationSentences148
filterMatches
0"watch"
1"look"
hedgeMatches
0"seem to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences210
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen67
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1888
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions55
wordCount1401
uniqueNames12
maxNameDensity1.5
worstName"Quinn"
maxWindowNameDensity3
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn21
Camden1
Sergeant1
Bell17
Salt1
Mirror1
Bone1
Compass2
Morris2
Poplar1
Davies6
persons
0"Harlow"
1"Quinn"
2"Camden"
3"Sergeant"
4"Bell"
5"Morris"
6"Davies"
places
0"Poplar"
globalScore0.751
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences92
glossingSentenceCount1
matches
0"looked like grease until the beam reveale"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1888
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences210
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs102
mean18.51
std22.55
cv1.218
sampleLengths
04
136
22
39
49
582
613
778
839
91
1027
1145
125
1341
1447
157
164
173
182
1925
207
2150
227
235
249
254
261
277
2811
2970
306
312
323
3346
344
357
362
372
386
393
408
414
4255
4319
4431
452
466
4735
4822
4976
95.78% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences148
matches
0"been dragged"
1"been smudged"
2"been underlined"
3"been locked"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs207
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences210
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1402
adjectiveStacks0
stackExamples(empty)
adverbCount33
adverbRatio0.023537803138373753
lyAdverbCount4
lyAdverbRatio0.0028530670470756064
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences210
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences210
mean8.99
std8.9
cv0.99
sampleLengths
04
127
29
32
49
59
617
79
815
922
1019
119
124
1328
1411
1515
165
1719
182
1913
2024
211
228
2319
2413
2516
2616
275
285
2936
305
3114
3213
335
3410
355
362
372
382
393
402
4125
425
432
443
458
4618
4721
487
495
69.05% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats5
diversityRatio0.42857142857142855
totalSentences210
uniqueOpeners90
53.33% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences125
matches
0"Too neat for a dropped"
1"Too shallow in places, too"
ratio0.016
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount21
totalSentences125
matches
0"She let go and stepped"
1"Their lamps cut narrow lanes"
2"His fingers had stopped a"
3"Her worn leather watch pressed"
4"He stood with his hands"
5"They formed no obvious pattern."
6"She shifted her light to"
7"She did not touch it"
8"Her military bearing made stillness"
9"She took in the brickwork"
10"She crossed to them."
11"She bent close."
12"It smelled wrong, sweet first,"
13"He pointed to the jamb."
14"Her lamp caught footprints, yes,"
15"She stepped into the corridor."
16"Her throat tightened."
17"She crouched by the wall"
18"He came to her, slower"
19"She pointed to the chalk"
ratio0.168
80.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount95
totalSentences125
matches
0"Detective Harlow Quinn ducked under"
1"The young constable froze, colour"
2"She let go and stepped"
3"The abandoned platform beneath Camden"
4"Their lamps cut narrow lanes"
5"A bench had been dragged"
6"Everything else orbited that."
7"A man in a good"
8"His fingers had stopped a"
9"The real damage sat higher."
10"A ring of bruising marked"
11"Her worn leather watch pressed"
12"Brown eyes moved from the"
13"Bell had a broad face"
14"He stood with his hands"
15"A forensic photographer flashed the"
16"Bell nodded towards the coins."
17"Quinn looked at the coins."
18"Each one had a square"
19"They formed no obvious pattern."
ratio0.76
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences125
matches(empty)
ratio0
79.08% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences56
technicalSentenceCount5
matches
0"A ring of bruising marked his throat, ugly and deep, as if something had closed there with perfect force."
1"A white scrape marked the old paint, as if something hard and narrow had struck it."
2"The dust broke in clean footfalls and one odd pattern, a crescent bite pressed at intervals beside the prints, as if a walking stick had a hooked ferrule."
3"The black iridescent residue stained the mortar around it, thicker here, as if something had seeped out of the wall itself."
4"The black stain in the brick swelled, glossy and wet, and a crack raced through the oval mark as if something on the far side had hooked a claw into the seam an…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags7
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount0
fancyTags(empty)
dialogueSentences70
tagDensity0.1
leniency0.2
rawRatio0
effectiveRatio0
90.4043%