Run: 2026-03-06-01KK1HMXKFGMH1WEKZ8QHR2S8N

Run Details

Duration:
1m 19s
Cost:
$0.042970
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 that gate.” Detective Harlow Quinn ducked under the striped tape anyway and caught the sagging iron with two gloved fingers before the constable could blunder into it. The metal trembled once. Tiny glass bells wired along the hinge gave a thin, sweet chime. Quinn went still. Not wind. Not loose hardware. Deliberate. She let the gate settle and looked past it into the old station platform. Camden had buried this branch decades ago, yet the tiled walls still held their grime like memory. Faded adverts peeled in strips. Black soot slicked the tunnel mouth. Someone had strung bare bulbs from rusted brackets, and their weak yellow light washed over a scene that made every officer present stand a little farther back than they needed to. A body sat upright on a bench as if waiting for a train. No blood splashed the floor. No sign of struggle. The victim, male, late thirties, wore a good navy wool coat buttoned to the throat. His hands rested on his knees. His face had the waxy slackness of death, but his eyes were open and packed with silver coins. Quinn’s sharp jaw tightened. She heard boots behind her, brisk and uneven. “Pathology hates you already,” said Sergeant Dale Mercer. He held a coffee that smelled burnt enough to strip paint. “They had to come down six flights and a service shaft.” “Then they can complain in complete sentences.” Mercer gave a short laugh and stepped beside her. He was broad in the shoulder, soft at the middle, tie already skewed. Good copper, poor observer. Useful in the right order. He angled his chin at the dead man. “Looks ritual. Coins, candles, station under Camden. Couldn’t scream occult louder if it hired a choir.” Quinn crouched by the gate instead of the corpse. The glass bells were no larger than thimbles. Hand-blown, old by the bubbles in the glass. Copper wire fixed them in a neat chain. Not random. Not decoration. The sort of warning system built by someone who expected intruders and wanted to hear them before they arrived. “Who found him?” “Urban explorer. Lad climbed in through a maintenance hatch with two mates and a camera. Saw our gent, thought it was a prank display, got close enough to spot the skin.” Mercer grimaced. “He vomited on a Jubilee line poster.” “Lucky poster.” Mercer took a sip. “SOCO says no prints on the bench, no wallet on the body, no phone. Pockets turned out after death, most likely. There’s a circle on the platform too. Candles burned down, wax pattern intact. Textbook nonsense.” Quinn rose and walked through the gate without letting it ring. “Textbook nonsense rarely keeps a circle intact in a public place.” The station had that stale underground smell, dust, wet brick, old grease, and underneath it, a sweeter note, cloying and wrong. Burnt myrrh, she thought at first. Then she crouched beside a guttered candle and corrected herself. Bone meal and honey. She glanced back. “Who moved what?” “Explorer touched nothing. Uniforms kept back. Forensics only did a first pass around the perimeter.” “Good.” The platform had been arranged. Six black candles in iron holders formed a rough oval around the bench. Chalk marks sat between them, though the marks had smeared in places, not from feet, from dripping liquid. Quinn leaned closer. The symbols were not one system. Half resembled alchemical notation. One looked copied from a tourist guide to Viking runes. Another had the fussy loops of ceremonial magic. Someone had borrowed bits from several traditions and stitched them together badly. Mercer hovered at her shoulder. “You see it too?” “I see someone who wanted the police to see it.” “That’s one way to do murder.” Quinn pointed at the nearest mark. “This chalk line crosses itself here. Sloppy hand.” “So?” “So a person who knows these systems doesn’t make that error. Not if the ritual matters.” “Or they panicked.” “Then look there.” She moved to the second candle. Wax had run in one direction, then another, as if the holder had been lifted and reset after it started to melt. Mercer squinted. “You’re saying they staged the whole lot after he died.” “I’m saying this circle came second.” Mercer rubbed his jaw. “Pathologist put the time of death around six to eight hours ago.” “Body temperature in a tunnel and that coat? Broad estimate.” She studied the victim. The coat sat too neatly. The collar hid lividity at the neck. She slipped a pen beneath the edge and lifted. A dark bruise ringed the throat. Mercer swore under his breath. “Strangled.” “Compressed. Could be ligature.” “That still fits ritual.” Quinn gave him a look. He lifted one hand. “Fine. Theatrical strangling.” She stepped closer to the bench. The coins in the dead man’s eyes were old, silver worn smooth on the face, stamped with no monarch she recognised. Not mint issue, then. Trade tokens, perhaps. One had a drilled hole near the edge. “Bag those separately,” she said. “Already asked.” “Asked who?” Mercer frowned and looked towards the tunnel arch where two SOCO techs murmured over a case. “Hughes.” Quinn followed his glance and saw the evidence tents. Neat. Numbered. Wrong. There should have been more foot traffic in the dust. The platform held old grime thick as felt. Yet aside from the explorer’s fresh trainer prints near the stairwell and the officers’ protected route, the area around the body looked too clean, as if someone had brushed a path and then thought better of it. She walked the perimeter. Her worn leather watch pressed cold against her wrist each time she bent. Near the wall she found what she wanted, a thin crescent scored through the dust, then another, both parallel and faint. “Wheel marks,” she said. Mercer peered down. “Trolley?” “Small wheels. Rubber. Pulled in from the service lift, stopped here, turned, then backed out.” “To move the body?” “Yes.” He looked over his shoulder. “No lift runs down here.” “One did.” At the far end of the platform a metal door stood half open. The paint had bubbled and cracked, but fresh scratches shone around the latch. Quinn crossed to it. The corridor beyond narrowed to a service passage lined with old cables and modern plastic conduit. Drywall dust lay in clumps by the threshold. She touched one with a gloved finger. Recent. “Council work?” Mercer offered. “Council seals doors. They don’t slice them.” The padlock lay on the floor inside, cut clean through. She advanced down the corridor. Her footsteps tapped, then softened where old water had warped the concrete. The air changed too, less station rot, more hot metal and paraffin. Halfway along, she found the first drop of blood. Tiny. Missable. On the left wall at shoulder height. “Here,” she called. Mercer lumbered up behind her. “Could be from the explorer.” “No smear. No handprint. Just cast-off.” She moved another few yards. “And here.” A second drop. Then none. The passage opened into a disused ticket hall someone had remade into something else. Tarpaulins divided the room into narrow aisles. Tables stood under work lamps. Crates, old rugs, a butcher’s block blackened by use, shelves full of stoppered jars and wrapped bundles. The remains of a market, struck in a hurry. Mercer lowered his coffee. “Bloody hell.” Quinn said nothing. She knew enough London rumours to recognise a shape before she named it. Hidden trade. Moving location. No signs, only whispers. The Veil Market. She had heard the name from informants who turned pale after saying it, and from a dying man three years ago, DS Morris, blood bubbling at his lips in an alley off Gray’s Inn Road. Don’t let them take it to the Market. At the time, she had thought concussion, fear, nonsense. Now she looked at the tables. Dried herbs tied with red thread. Glass vials holding liquids that caught the light with an oily sheen. Carved bones drilled into whistles. The whole place had the feel of a bazaar after a bomb scare, commerce interrupted mid-breath. Mercer stared at a rack of knives with blackened blades. “I’m changing my vote. Ritual moved up the list.” “No.” Quinn pointed to the clear spaces on the tables. Rectangular clean marks where dust had not settled. “Removal. Fast, selective. Someone took stock, not relics. They knew what mattered.” A constable appeared at the doorway, face tight. “Ma’am, there’s a woman at the cordon. Says she’s from the British Museum. Won’t leave.” Quinn straightened. “Name?” “Eva, er, Kowalski.” Mercer blinked. “Museum staff don’t usually break into underground murder scenes.” “Some do.” Quinn stepped past him. “Keep everyone out of this room. No one touches a jar, a rag, or a nail.” When she reached the platform, Eva Kowalski was already ducking under the tape despite two uniforms blocking her path. She was small and freckled, all sharp energy and curls fighting the elastic at the nape of her neck. Round glasses had slipped down her nose. A worn leather satchel hung at her hip, swollen with books and paper. She tucked hair behind her left ear with a hand that did not keep still. “I told them I’m not press, I’m useful.” “You usually open with less charm,” Quinn said. Eva turned. Her green eyes flicked to the corpse, the candles, the gate, then to Quinn. The quickness of that scan did not belong to a civilian. “Oh good, you’re here.” “That was inevitable.” Mercer joined them with a look that said he objected to all of this. “Detective, this is an active scene.” Eva ignored him. “Did anyone remove anything metal from his face?” “No.” “Good. Don’t.” Mercer stared. “That’s your opening line?” Eva took one step closer to Quinn and dropped her voice. “This isn’t a ritual killing.” “I know.” “It’s a receipt.” Mercer made an irritated sound. “Excuse me?” Eva pointed at the silver coins in the dead man’s eyes. “Payment marker. Not antique currency, market tokens. See the drilled hole in the left one? That batch came through eastern stalls six months ago. Someone put those there to say the man died over a debt, a purchase, or stolen goods.” Quinn watched her. “How do you know that?” Eva held her stare for one beat too long, then reached into her satchel. “Because I catalogue things people should not own.” She drew out a small brass compass with a skin of verdigris along the hinge. Protective sigils ringed the face. The needle did not settle north. It jerked instead towards the far tunnel, then spun, then snapped back so hard the casing clicked. Mercer’s coffee cup lowered by an inch. “What the hell is that?” Eva didn’t answer him. Quinn looked from the compass to the opened service corridor. “A Veil Compass.” Eva’s brows rose. “You’ve heard of it.” “I hear many things.” “And believe none?” “Belief isn’t evidence.” “Fine. Then treat it as an instrument. It points to the nearest rift.” Eva swallowed and tucked hair behind her ear again. “And there’s one close. Too close.” Mercer gave a sharp laugh that carried no humour. “A rift. Right. We’ve arrived at nonsense station.” Quinn held out her hand. “Let me see it.” Eva hesitated, then placed the compass in Quinn’s palm. The brass felt colder than the air. The needle shivered with fierce intent, not random vibration. Quinn turned in a slow circle. It tugged hardest towards the dead man, then past him, down onto the tracks. She looked at the rails. Rust, litter, old puddles. One dark gap beneath the platform lip. “Has anyone checked under there?” Mercer folded his arms. “For what, goblins?” “For the part of the scene you missed.” She dropped to the track bed before he could argue. Gravel ground under her boots. The station smell deepened, mineral and rank. Up close, the platform edge showed scrape marks, fresh, parallel, the same width as the wheels in the dust. The trolley had not stopped on the platform. It had come from below, from a maintenance recess hidden by the lip. Quinn crouched and shone her torch into the gap. Eyeshine flashed back at her. Not animal. Too high. Too level. Human height in a space no human could stand in. “Back,” she said. The thing under the platform moved with a wet skitter, and a hand shot out from the dark, bone-pale, clutching a chain of tiny glass bells.
created_at"2026-03-06T12:23:37.343Z" 3/6/2026, 12:23:37 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency427
moderation_latency(null)
generation_time79374
tokens_prompt4671
tokens_completion3386
native_tokens_prompt4157
native_tokens_completion2767
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"
usage0.0429695
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_0d0e93604fa0b4690169aac749688c8196a9828782f161fd9e"
is_byokfalse
latency138
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-1772799817-qgxnsYzVZFBQiLvz2639"
upstream_id"resp_0d0e93604fa0b4690169aac749688c8196a9828782f161fd9e"
total_cost0.0429695
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
totalTags12
adverbTagCount0
adverbTags(empty)
dialogueSentences87
tagDensity0.138
leniency0.276
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2073
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)
90.35% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2073
totalAiIsms4
found
0
word"trembled"
count1
1
word"footsteps"
count1
2
word"charm"
count1
3
word"flicked"
count1
highlights
0"trembled"
1"footsteps"
2"charm"
3"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
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)
analyzedSentences259
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen41
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2073
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions17
unquotedAttributions0
matches(empty)
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions71
wordCount1488
uniqueNames17
maxNameDensity1.55
worstName"Quinn"
maxWindowNameDensity4.5
worstWindowName"Eva"
discoveredNames
Harlow1
Quinn23
Sergeant1
Dale1
Mercer21
Viking1
London1
Veil1
Market2
Morris1
Gray1
Inn1
Road1
Rectangular1
Eva10
Kowalski1
One3
persons
0"Harlow"
1"Quinn"
2"Sergeant"
3"Dale"
4"Mercer"
5"Morris"
6"Gray"
7"Eva"
8"Kowalski"
9"One"
places
0"London"
1"Inn"
2"Road"
globalScore0.727
windowScore0.167
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences104
glossingSentenceCount1
matches
0"as if waiting for a train"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2073
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences259
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs121
mean17.13
std17.95
cv1.048
sampleLengths
04
141
23
36
473
513
648
712
830
97
1031
1124
129
1347
143
1540
162
1740
1822
1941
206
2115
221
2379
249
2510
266
2714
281
2916
303
313
3230
3310
346
3516
3610
3731
386
394
404
415
427
4342
445
452
462
4717
4812
4955
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences184
matches
0"been arranged"
1"been lifted"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs265
matches
0"was already ducking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences259
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount844
adjectiveStacks0
stackExamples(empty)
adverbCount23
adverbRatio0.027251184834123223
lyAdverbCount4
lyAdverbRatio0.004739336492890996
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences259
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences259
mean8
std6.64
cv0.829
sampleLengths
04
125
24
312
43
52
63
71
814
917
105
116
1231
1313
145
154
1615
176
1818
194
208
218
2211
2311
247
259
2613
274
285
298
3016
319
328
338
348
352
362
3719
383
3933
407
412
424
4336
4411
4511
4621
476
4810
494
71.43% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.4517374517374517
totalSentences259
uniqueOpeners117
21.37% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences156
matches
0"Then she crouched beside a"
ratio0.006
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount31
totalSentences156
matches
0"She let the gate settle"
1"His hands rested on his"
2"His face had the waxy"
3"She heard boots behind her,"
4"He held a coffee that"
5"He was broad in the"
6"He angled his chin at"
7"She glanced back."
8"She moved to the second"
9"She studied the victim."
10"She slipped a pen beneath"
11"He lifted one hand."
12"She stepped closer to the"
13"She walked the perimeter."
14"Her worn leather watch pressed"
15"He looked over his shoulder."
16"She touched one with a"
17"She advanced down the corridor."
18"Her footsteps tapped, then softened"
19"She moved another few yards"
ratio0.199
65.77% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount123
totalSentences156
matches
0"Detective Harlow Quinn ducked under"
1"The metal trembled once."
2"Quinn went still."
3"She let the gate settle"
4"Camden had buried this branch"
5"Someone had strung bare bulbs"
6"A body sat upright on"
7"The victim, male, late thirties,"
8"His hands rested on his"
9"His face had the waxy"
10"Quinn’s sharp jaw tightened."
11"She heard boots behind her,"
12"He held a coffee that"
13"Mercer gave a short laugh"
14"He was broad in the"
15"He angled his chin at"
16"Quinn crouched by the gate"
17"The glass bells were no"
18"Hand-blown, old by the bubbles"
19"Copper wire fixed them in"
ratio0.788
32.05% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences156
matches
0"Now she looked at the"
ratio0.006
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences56
technicalSentenceCount3
matches
0"Someone had strung bare bulbs from rusted brackets, and their weak yellow light washed over a scene that made every officer present stand a little farther back …"
1"She had heard the name from informants who turned pale after saying it, and from a dying man three years ago, DS Morris, blood bubbling at his lips in an alley …"
2"Glass vials holding liquids that caught the light with an oily sheen."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags12
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount0
fancyTags(empty)
dialogueSentences87
tagDensity0.057
leniency0.115
rawRatio0
effectiveRatio0
89.9212%