Run: 2026-03-06-01KK1HR89HB48MZ76MKCEAD9XS

Run Details

Duration:
1m 19s
Cost:
$0.050380
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 slash beneath the brim of a cap, and vaulted the iron barrier at the end of the alley. Detective Harlow Quinn hit the barrier a beat later, planted a hand on wet metal, and swung over. Her shoes slapped hard on slick stone. Water sheeted off bin lids, ran in dirty ribbons along the kerb, and turned the lane into a black mirror that broke under her stride. Ahead, the suspect cut left between a minicab office and a shuttered barber’s, fast and sure-footed, as if he knew every blind turn Soho could offer. Quinn drove after him. Her lungs burned, but the rest of her kept military time. Count the pace. Watch the shoulders. Suspects lied with their mouths and told the truth with their feet. This one was tiring. His right leg favoured itself on the push-off. Old injury, fresh strain, or bad luck in poor shoes. Good. People made mistakes when pain joined the chase. “Armed police!” she barked, though she had no firearms unit at her back and no patience left for niceties. “On the ground!” A woman flattened herself into a doorway with a shopping bag clutched to her chest. A courier swore as the suspect clipped his handlebars and sent his bicycle skidding into a puddle. Somewhere behind, a horn blared and kept blaring, thin with outrage. The suspect burst onto a wider road lined with neon signs and steamed-up windows. Grease and stale lager drifted from a kebab shop still doing trade through a hatch. A green glow flared to Quinn’s right, bright against the wet brick, and for half a second she registered The Raven’s Nest, its distinctive sign buzzing above the entrance, old maps and black-and-white photographs just visible through the dim front windows. Men at the bar turned at the commotion. One lifted his glass and watched with the cool interest of someone who had seen trouble before and billed for it after. No time. The suspect shoved through a knot of smokers outside the bar. Someone cried out. Quinn shouldered past them, caught the scent of damp wool, cigarettes, cheap perfume, then the sharp medicinal sting of disinfectant from inside the doorway. “Watch it, love!” “Police,” Quinn snapped. That parted them better than elbows. She saw the suspect again, thirty yards ahead, running towards the high street. He hit the corner, looked over his shoulder, and made the kind of choice people made when they wanted to disappear, not escape. He headed for the station entrance. Quinn’s jaw tightened. “Of course you do.” She lengthened her stride. Rain hammered the stairwell awning and drummed on the tiled steps below. Commuters climbed up with heads down and coats clutched tight, cursing as the suspect barreled through them. Quinn descended against the flow, one hand skimming the grimy rail, shoulder smashing a path open. “Move!” The station swallowed street noise whole. Bright adverts glared off wet tiles. An announcement crackled through old speakers and blurred into static under the thunder of feet. The suspect cleared the ticket barriers in one vault, clipped the top edge, stumbled, recovered. Quinn flashed her warrant card at a startled attendant and hurdled through the open gate before the man had finished drawing breath. “Call it in,” she threw over her shoulder. “Call what in?” Too late. She was already down the escalator, taking the dead metal steps three at a time while the suspect raced the moving side and nearly lost his footing on the slick rubber comb. Commuters recoiled as he barged through. One man spun, furious, then thought better of it when Quinn came behind with murder in her expression. At platform level the air changed. Hot brakes. wet concrete. electric dust. The suspect darted between two pillars, crossed the yellow line, and dropped from the platform to the ballast. “Bloody idiot,” Quinn said, and jumped down after him. Her knees jarred. Gravel shifted underfoot. A warning siren sounded somewhere deeper in the tunnel. Not immediate, but close enough to keep the pulse honest. The suspect scrambled across the tracks, hauled himself onto the far maintenance ledge, and vanished through a service door hanging on one hinge. Quinn climbed after him and slipped into darkness. The tunnel beyond narrowed at once. Gone was the public face of London, the tiled civility of maps and adverts and emergency posters. Here the walls sweated. Cable bundles clung to them like black roots. Water dripped in a steady tick-tick from overhead pipes and struck the concrete with the patience of torture. Her breath sounded louder. So did the city, distant now, a vast mechanical animal growling through stone. She drew her torch and swept the beam ahead. Fresh footprints shone in the wet. The suspect had no more than twenty seconds on her. He had also planned this. That thought arrived clean and cold. Men on the run looked back. They hesitated. They guessed. This one had chosen his route long before he stepped into Soho. He had wanted her here or had known he could lose anyone here. Neither option pleased her. She moved on. The service corridor broke at a rusted junction box and opened into an older passage where the tiles changed from municipal cream to soot-stained green. Disused line. She knew the look from maps and old incident reports. London had layers. Working tunnels. Abandoned tunnels. Sealed tunnels people still found a use for because rot and need never lacked imagination. Voices reached her first, blurred by walls. Then music, thudding bass under a thin violin line. Then smell, impossible and immediate. Spices. hot oil. incense. ozone. wet soil. blood, old and sweet at the edge of it all. Quinn slowed. The corridor ended at a broken arch. Beyond it, a platform spread into an impossible life. Stalls packed the length of an abandoned Tube station beneath Camden, built from scavenged boards, brass rails, packing crates, velvet curtains, and old station signage turned backwards. Bare bulbs hung in strings. Green and red lanterns cast stained pools over the crowd. The old roundel on the wall had been hacked apart and repainted with symbols she did not know. Traders barked in accents from half the world and a few that seemed to come from nowhere on any map. A woman in fox fur sold glass vials that glowed like trapped moons. Two men argued over a birdcage filled with moths the size of fists. A child with eyes too pale to trust threaded between knees with a tray of bone tokens hanging from cords. No one should have been here. Yet everyone was. Quinn stood in the mouth of the arch with rainwater still dripping from her coat and felt, for one hard second, what she had refused to call fear since she was twenty-three and foolish enough to think training covered every form of danger. This place sat outside the city she policed and under it at the same time. Hidden. Busy. Organised. Protected by the oldest shield in London, disbelief. The Veil Market. She did not know the name yet, but she knew a black market when she saw one, and this one had teeth. Her suspect slipped through the crowd fifty feet away. The cap had gone. He glanced back once, eyes wide now, not with relief but alarm. Interesting. He hadn’t expected her to see this either. Quinn stepped onto the platform. Conversation faltered in ripples. Faces turned. Not one smiled. A broad man behind a butcher’s block lifted a cleaver and rested it on his shoulder. “No token,” he said. “Police.” That won a few laughs, low and humourless. A woman with silver rings from knuckle to elbow looked Quinn up and down, stopping at the worn leather watch on her left wrist, then at the warrant card in Quinn’s hand. “Wrong kind of badge, darling.” “Man in a charcoal coat. Ran through here.” “Half the men in London own a charcoal coat.” “He’s bleeding from the right hand.” That landed. The woman’s gaze flicked past Quinn, towards the crowd, then away. Quinn moved before anyone could decide to be brave on someone else’s behalf. The market resisted in subtle ways. People drifted a fraction too slow. Stalls edged wider. A rack of charms swung into her path. She shoved it aside and felt a static bite run up her fingers. She ignored it. A bookseller snapped a volume shut as she passed. The cover looked like skin. She ignored that too. The suspect shouldered between two hanging rugs painted with eyes and vanished down a side aisle formed by the old service tunnels. Quinn followed, pushing through the heavy cloth. The air beyond cooled at once. Someone caught her sleeve. She turned on the grip and nearly drove her elbow into the ribs of a man she recognised. “Easy,” Tomás Herrera said. His warm brown eyes held hers. Damp curls stuck to his forehead. His olive skin had the tired drawn look of someone pulled from work too fast. He wore a dark coat open over scrubs, absurd in this place but not as absurd as finding him here. The scar along his left forearm flashed pale when he lifted both hands. A Saint Christopher medallion glinted at his throat. “What in God’s name are you doing down here?” Quinn said. “Saving you a disaster.” “Step aside.” “No.” That word came soft. Firm. More dangerous for the lack of volume. He guided her one pace deeper into the side aisle, just enough to get them out of the current of bodies. Up close she caught antiseptic on him, beneath it smoke and the iron tang of someone else’s blood. “You don’t belong here,” he said. “Neither do you, by the look of your medical registration.” “One of us still patches people up. Listen to me.” “I’m listening while moving. Who was I chasing?” Tomás glanced over her shoulder. A vendor rolled by with a cart of stoppered jars, each filled with black water and something pale that pressed from the inside like fingers. “Not here.” “Now.” He exhaled through his nose. “Courier. Name changes every month. He carries messages between people who don’t trust phones. If he ran, he was told to run.” “By who?” “You ask that like there’s one answer.” Quinn shifted to go around him. He caught her sleeve again, and this time she let him see the warning in her face. “Take your hand off me.” “Three years ago, your partner went into something he did not understand.” The station noise dropped out. Not the market. Not the music. Her body simply stopped hearing them. Tomás read the change and hated himself for using it. Good. He should. “You knew Morris?” she said. “No. I know what killed him wasn’t on any report you filed.” Quinn’s hand tightened around the torch until the ridged grip bit her palm. “Careful.” “That’s my line.” A crash rang out somewhere ahead. Shouts followed. The suspect burst from a narrow passage twenty yards down the aisle, no longer running clean. Blood striped his right hand and marked the front of his coat. He looked less like prey now than a man fleeing a larger predator. He saw Quinn, saw Tomás, and swerved. Then something stepped out behind him. It wore a porter’s old Underground uniform, the cap pulled low, the jacket black with age and damp. At first glance it seemed human, just gaunt and bent. Then it lifted its head. The face under the cap had no eyes, only smooth skin stretched over sockets that moved as if something beneath it blinked. Its mouth opened too wide. Ticket stubs fluttered out and stuck to the blood on the suspect’s sleeve. The market recoiled as one body. The suspect screamed, “Bone debt, bone debt, I paid, I paid,” and fired a shot from a snub pistol hidden in his coat. The report detonated in the tunnel. Lantern glass burst. People ducked. Someone yelled in a language Quinn did not know. The bullet hit the eyeless thing in the chest. It did not slow. Quinn moved on instinct. She shoved Tomás sideways into a crate of sealed bottles, drew her own weapon, and sighted on the thing as it seized the suspect by the throat and lifted him clear off the ground. The man kicked, gun clattering away under a spice stall. Black tickets kept pouring from the creature’s mouth, plastering to his face, his coat, his open lips. “Down!” Quinn shouted. Tomás hit the floor. Traders scattered. The creature turned its blind face towards Quinn as if it could smell authority. Then the lights across the market snapped out all at once.
created_at"2026-03-06T12:25:26.593Z" 3/6/2026, 12:25:26 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency568
moderation_latency(null)
generation_time78657
tokens_prompt4663
tokens_completion3296
native_tokens_prompt4132
native_tokens_completion2670
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"
usage0.05038
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_0c29a4bfbe4e612d0169aac7b6a6f08194b4219a572fece19d"
is_byokfalse
latency161
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-1772799926-S5xyvaGbmyvI6JnJ8SLC"
upstream_id"resp_0c29a4bfbe4e612d0169aac7b6a6f08194b4219a572fece19d"
total_cost0.05038
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
totalTags11
adverbTagCount0
adverbTags(empty)
dialogueSentences38
tagDensity0.289
leniency0.579
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2129
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)
81.21% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2129
totalAiIsms8
found
0
word"raced"
count1
1
word"electric"
count1
2
word"pulse"
count1
3
word"mechanical"
count1
4
word"velvet"
count1
5
word"flicked"
count1
6
word"predator"
count1
7
word"fluttered"
count1
highlights
0"raced"
1"electric"
2"pulse"
3"mechanical"
4"velvet"
5"flicked"
6"predator"
7"fluttered"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences204
matches
0"t with relief"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount1
narrationSentences204
filterMatches
0"watch"
1"see"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences231
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
totalWords2129
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
totalMentions52
wordCount1947
uniqueNames16
maxNameDensity1.39
worstName"Quinn"
maxWindowNameDensity3
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn27
Soho2
Raven1
Nest1
London3
Tube1
Camden1
Veil1
Market1
Herrera1
Saint1
Christopher1
Tomás6
Underground1
People3
persons
0"Harlow"
1"Quinn"
2"Raven"
3"Camden"
4"Market"
5"Herrera"
6"Saint"
7"Christopher"
8"Tomás"
9"People"
places
0"Soho"
1"London"
globalScore0.807
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences127
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.939
wordCount2129
matches
0"Not immediate, but close enough to keep the pulse honest"
1"not with relief but alarm"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences231
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs97
mean21.95
std25.01
cv1.14
sampleLengths
01
131
276
34
460
522
643
7100
82
938
103
113
1248
133
144
1549
161
1764
188
193
2058
2130
229
2348
248
2570
2625
275
2845
293
3059
3138
322
3316
34126
356
363
3769
383
3922
4025
411
428
4314
4416
454
461
478
4832
495
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences204
matches
0"been hacked"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs338
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences231
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1955
adjectiveStacks1
stackExamples
0"vast mechanical animal growling"
adverbCount55
adverbRatio0.028132992327365727
lyAdverbCount4
lyAdverbRatio0.0020460358056265983
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences231
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences231
mean9.22
std7.69
cv0.834
sampleLengths
01
131
218
37
425
526
64
711
83
93
1012
114
128
1310
141
158
1619
173
1815
1917
2011
2114
2215
2341
248
2522
262
2711
283
2924
303
313
326
3313
3423
356
363
374
384
3912
4017
4116
421
436
446
4515
4615
4722
488
493
69.26% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.44155844155844154
totalSentences231
uniqueOpeners102
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount7
totalSentences169
matches
0"Somewhere behind, a horn blared"
1"Then music, thudding bass under"
2"Then smell, impossible and immediate."
3"More dangerous for the lack"
4"Then something stepped out behind"
5"Then it lifted its head."
6"Then the lights across the"
ratio0.041
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount38
totalSentences169
matches
0"Her shoes slapped hard on"
1"Her lungs burned, but the"
2"His right leg favoured itself"
3"she barked, though she had"
4"She saw the suspect again,"
5"He hit the corner, looked"
6"He headed for the station"
7"She lengthened her stride."
8"she threw over her shoulder"
9"She was already down the"
10"Her knees jarred."
11"Her breath sounded louder."
12"She drew her torch and"
13"He had also planned this."
14"He had wanted her here"
15"She moved on."
16"She knew the look from"
17"She did not know the"
18"Her suspect slipped through the"
19"He glanced back once, eyes"
ratio0.225
66.51% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount133
totalSentences169
matches
0"The man in the charcoal"
1"Detective Harlow Quinn hit the"
2"Her shoes slapped hard on"
3"Water sheeted off bin lids,"
4"Quinn drove after him."
5"Her lungs burned, but the"
6"This one was tiring."
7"His right leg favoured itself"
8"People made mistakes when pain"
9"she barked, though she had"
10"A woman flattened herself into"
11"A courier swore as the"
12"The suspect burst onto a"
13"Grease and stale lager drifted"
14"A green glow flared to"
15"Men at the bar turned"
16"The suspect shoved through a"
17"Someone cried out."
18"Quinn shouldered past them, caught"
19"That parted them better than"
ratio0.787
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences169
matches(empty)
ratio0
97.07% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences78
technicalSentenceCount5
matches
0"Ahead, the suspect cut left between a minicab office and a shuttered barber’s, fast and sure-footed, as if he knew every blind turn Soho could offer."
1"A woman in fox fur sold glass vials that glowed like trapped moons."
2"The face under the cap had no eyes, only smooth skin stretched over sockets that moved as if something beneath it blinked."
3"Black tickets kept pouring from the creature’s mouth, plastering to his face, his coat, his open lips."
4"The creature turned its blind face towards Quinn as if it could smell authority."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount0
matches(empty)
44.74% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount4
fancyTags
0"she barked (bark)"
1"Quinn snapped (snap)"
2"The suspect screamed (scream)"
3"Quinn shouted (shout)"
dialogueSentences38
tagDensity0.263
leniency0.526
rawRatio0.4
effectiveRatio0.211
90.6486%