Run: 2026-03-06-01KK1HSRTWZSZ0KJ2225VH347T

Run Details

Model:
GPT-5.4
Duration:
1m 33s
Cost:
$0.041647
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 shout cracked off the brick and glass and did nothing. The man in the charcoal coat vaulted a stack of tied rubbish bags, clipped a wing mirror with his hip, and tore into the next street without a glance back. Detective Harlow Quinn drove after him, boots slapping through black water, her breath sawing in her throat. Her left wrist flashed as she pumped her arms, the worn leather watch dark with rain. He had dropped one glove. Good. He was getting tired. “Armed response is ten out,” her earpiece spat. “Then they can read the report,” Quinn said. “I’ve got him.” She cut through a lane so narrow the walls nearly brushed her shoulders. Sour beer leaked from a pub cellar door. Frying fat and petrol hung in the air, thick enough to chew. A courier on a bicycle burst from nowhere and swore at her. Quinn shoved off a dripping bollard, changed stride, and hit the pavement hard again. The suspect glanced back at last. Pale face. Sharp nose. A strip of blood at his hairline. Not one of the street dealers she had expected. Too neat. Too fast. He clutched something under his coat with both hands as if the package mattered more than balance. “Police!” Quinn barked. “Hands where I can see them.” He laughed. Even at this distance she heard it, thin and wrong, as if it had too many teeth in it. Then he took a hard right and vanished beneath a green neon sign. The Raven’s Nest. Quinn hit the door a second later and shouldered inside. Heat punched her face. The bar stank of spilled stout, old wood, and smoke trapped in curtains that had not seen daylight in years. Old maps yellowed the walls. Black-and-white photographs watched from crooked frames, dead-eyed and patient. At the far end a singer on the speakers crooned around static. Three men at the bar turned in one smooth motion, all of them too still. “Police,” Quinn said, badge out. No one reached for a wallet. No one asked what this was about. They looked past her, towards the rear of the room. A woman polishing glasses set one down with care. “You’re making a mess of my floor.” “Charcoal coat. Came through twenty seconds ago.” “Lots of coats in London.” Quinn moved. The woman’s hand shot out to catch her sleeve. Quinn twisted free on instinct, two fingers pinning the wrist against the bar before the woman could blink. “Don’t,” Quinn said. The woman smiled without warmth. “You should save that tone for downstairs.” Quinn let go. “Back room.” “No.” The answer came from a man rising in a booth, broad as a wardrobe and dressed in a dark shirt that fit too well over old muscle. He had the sort of face that made doorways seem sensible. Quinn had seen him twice in surveillance photos linked to three names and four addresses, none of them confirmed. “You’re obstructing an officer.” “You’ve got no warrant.” He tipped his chin towards the hidden seam in the bookshelves at the back wall, careless enough to be deliberate. “And no idea where your shoes are taking you.” She started towards the shelves anyway. The room shifted around her, not with open panic, but with a tightening, a pull like wire drawing taut. Someone killed the music. Rain tapped the windows behind her, soft and useless. “Who is he?” Quinn asked. “Not your sort.” “That’s not an answer.” “It’s the only one you’re getting.” Quinn planted a hand on the bookshelf and felt the give. Clever. A latch disguised in the spine of a cracked atlas. She pressed. The shelf clicked and swung inwards, leaking a draught that smelled of wet stone, dust, and something sweet gone rotten. The broad man stepped in front of the opening. “Detective,” he said. “You can pretend this place is Soho with worse lighting. Through there, your rules go thin.” “My rules don’t change.” His smile held pity now. That irritated her more than the threat. “Three years ago,” he said, “did your partner die near a tunnel?” Quinn’s hand went to his shirt before she chose it. She drove him back into the shelf. Glass rattled. A bottle fell somewhere behind the bar and smashed. “What did you say?” “Thought so.” His pulse beat hard under her knuckles. He did not look afraid. Worse, he looked certain. A blur moved in the gap beyond him. Charcoal coat. Quinn shoved the man aside and plunged through the hidden door. The passage dropped at once. Narrow steps curled down through brick sweating with damp. The noise of the bar snapped shut behind her, replaced by a low murmur, many voices braided together under the city. Electric light buzzed in wire cages overhead, every third bulb dead. She took the stairs two at a time. “Control,” she said, touching her earpiece. Only hiss answered. Of course. At the bottom, the tunnel widened into an old platform. Quinn stopped for half a breath, and that half-breath cost her. The suspect was already moving through the crowd below, his charcoal coat threading between stalls built from salvaged doors, old market tables, and railway crates. Lanterns in red, blue, and sickly white swung from hooks and painted everything in bruised colours. Traders barked in half a dozen languages. Copper, spices, wet concrete, singed hair. The smell came in layers and left a metallic taste at the back of her tongue. No station signs remained whole, but she caught enough flaking tile and old roundel curves to know where she was. Camden, or beneath it. An abandoned Tube station, repurposed into something that did not want to be found. The Veil Market. Quinn had heard the name in interviews with junkies, smugglers, and one terrified accountant who had swallowed his own tongue before he finished the sentence. A myth, she had filed it under. London bred myths the way drains bred rats. The suspect looked back over his shoulder and smiled again. Then the crowd took him. Quinn went after him. A stallholder thrust a tray of glass vials into her path. The liquids inside shifted colour as she passed, from amber to black to a pink like diluted blood. “Bone token or bugger off.” She shoved the tray aside. “Police.” The man spat near her boot. “That’s not legal tender.” Another trader rang tiny bells over a spread of teeth, all sorted by size in velvet-lined cases. Human, animal, not all of them easy to name. Beside her left shoulder, a cage shook as something small and hairless hurled itself at the bars. Quinn kept moving. The market pressed from all sides. Not crowded in the ordinary way. Organised, but according to rules she did not know. Buyers in cashmere brushed shoulders with girls in school blazers. A man in paint-stiff overalls bartered over a crate of sealed jars packed with floating eyes. A woman in a wedding sari fed strips of raw meat to birds with no feathers and too many wings. No one seemed surprised by anything except Quinn. That, more than the rest, turned the place dangerous. “Out of the way.” She flashed her badge at a knot of men blocking the path. One leaned close enough for her to smell cloves on his breath. “Pretty tin. Means less here than a bus pass.” Quinn palmed him aside and spotted the charcoal coat near the far stairwell. He pushed through a curtain of hanging charms that clicked and whispered as they struck one another. She followed and felt a sting across her cheek. Not metal. Bone. “Detective.” The voice came from her right. She turned, already reaching. Tomás Herrera stood behind a stall stacked with bandages, brown bottles, surgical tools wrapped in linen, and bundles of herbs hung to dry from a pipe overhead. Warm brown eyes. Short dark curls damp with tunnel mist. Olive skin gone sallow under the lights. The scar along his left forearm showed white where he had shoved his sleeve up. The Saint Christopher medallion at his throat caught the lantern glow. She knew the face from a suspended medical licence notice and six whispers from six unrelated informants. “Tomás Herrera.” “I was hoping not to meet under these conditions.” “You’re aiding wanted persons now?” “I mend what crawls in. I don’t ask what chased it.” He looked past her, and his mouth flattened. “The man you’re following, leave him.” “Move.” “He’s carrying something wrapped in skin.” Quinn held his gaze. “Human.” “Not fresh.” He slid his hand under the counter and came up empty, palms spread. “That won’t comfort you. It should worry you.” “Where did he go?” “Lower tunnels.” “Then point.” Tomás exhaled through his nose, a habit that looked close to prayer. “The market requires a bone token.” “I’m not shopping.” “You think that matters?” A crash erupted three stalls over. People swore and scattered. Quinn looked in time to see the suspect overturn a table of candles. Flames skittered across spilled oil in thin blue tongues. Stallholders shouted. Someone hurled a knife. It missed the suspect and buried itself in a post by Quinn’s shoulder. “Point,” she snapped. Tomás leaned over the counter. “Second arch. Past the mask seller, down the service steps. If the bells ring behind you, don’t answer.” “What bells?” He gave a quick, bitter smile. “You’ll know.” Quinn moved before he could say more. She cut through the smoke and panic, shoulder-first, driving a path through traders hauling goods clear of the fire. A child with black ink on his eyelids snatched at her pocket. She caught his wrist without slowing. He hissed and vanished under a table. The suspect reached the second arch and shouldered through a hanging tarp stitched from old train posters. Quinn followed into a service tunnel lined with cables and dripping pipes. The market noise dulled at once, as if the walls ate it. Her boots splashed through shallow water. Rats skittered over sleepers half-buried in the muck. Far ahead, her quarry’s coat flashed between pillars. “Finished running?” she called. His voice came back warped by the tunnel. “You still think this is your hunt.” She quickened. Her calves burned. Her jacket dragged at her shoulders with rain and sweat. The tunnel bent left. Then right. The old station architecture gave way to older brick, rougher and hand-laid, patched with newer concrete where collapses had bitten chunks from the walls. Then bells chimed behind her. Not from one place. From many. Small silver notes, bright and eager. Quinn stopped. Every instinct told her to keep the suspect in sight. Eighteen years had sharpened those instincts until they felt like steel. They had saved her in stairwells, knife fights, riots, domestic calls gone bad. They had not saved Morris. Three years ago he had run into a rail tunnel after a suspect with blood on his cuffs and a laugh that did not fit his face. They had found what remained of him by the tracks. Officially, a train. Unofficially, nothing. No train had passed that section for months. The bells sounded again, closer now, and something brushed the air at the back of her neck. Quinn turned. The tunnel behind her stood empty for ten yards. On the eleventh, a woman in a stationmaster’s uniform waited under a dead lamp. Her cap sat at the wrong angle. Her smile split too wide. Dark water streamed from her hem but left the brick dry. “Platform change,” the woman said. Quinn’s hand went to her sidearm. She drew, sight level. The thing in the uniform clicked its tongue. “Still late, Harlow.” Morris had used her first name only in cars and only when he wanted to annoy her. A shape moved ahead. The suspect. Nearly at a rusted iron gate. Two threats. One known only by absence of reason. One flesh and bleeding and close to getting away. Quinn made the choice in a breath. She backed one pace, never lowering the gun from the woman in uniform, then turned and sprinted for the gate. Behind her, the bells broke into a delighted frenzy. The suspect slammed through the iron gate and yanked it shut. Quinn hit it a second later. The bars rang. His face loomed inches beyond, pale and gleaming. “You should have taken the platform,” he said. He held up what he had carried beneath his coat. Not a parcel. A small bundle stitched from grey skin, bound in red thread, wet and pulsing in his hands like a second heart. Then the thing behind Quinn touched her shoulder.
created_at"2026-03-06T12:26:16.301Z" 3/6/2026, 12:26:16 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency569
moderation_latency(null)
generation_time92475
tokens_prompt4663
tokens_completion3316
native_tokens_prompt4132
native_tokens_completion2683
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"
usage0.041647
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_04b0f318966ba7560169aac7e85b948190b10c76bd2cefde66"
is_byokfalse
latency147
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-1772799976-TJJjggxsJyMall7EVWD2"
upstream_id"resp_04b0f318966ba7560169aac7e85b948190b10c76bd2cefde66"
total_cost0.041647
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
totalTags16
adverbTagCount0
adverbTags(empty)
dialogueSentences59
tagDensity0.271
leniency0.542
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2105
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)
83.37% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2105
totalAiIsms7
found
0
word"warmth"
count1
1
word"pulse"
count1
2
word"electric"
count1
3
word"velvet"
count1
4
word"quickened"
count1
5
word"loomed"
count1
6
word"gleaming"
count1
highlights
0"warmth"
1"pulse"
2"electric"
3"velvet"
4"quickened"
5"loomed"
6"gleaming"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells2
narrationSentences208
matches
0"seemed surprised"
1"felt a sting"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount1
narrationSentences208
filterMatches
0"watch"
1"notice"
hedgeMatches
0"started to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences251
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen30
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2105
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
33.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions49
wordCount1842
uniqueNames13
maxNameDensity1.74
worstName"Quinn"
maxWindowNameDensity4
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn32
Raven1
Nest1
Tube1
Veil1
Market1
One3
Herrera1
Saint1
Christopher1
Tomás3
Morris2
persons
0"Harlow"
1"Quinn"
2"Raven"
3"Market"
4"One"
5"Herrera"
6"Saint"
7"Christopher"
8"Tomás"
9"Morris"
places(empty)
globalScore0.631
windowScore0.333
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences136
glossingSentenceCount2
matches
0"seemed surprised by anything except Quinn"
1"felt like steel"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.475
wordCount2105
matches
0"not with open panic, but with a tightening, a pull like wire drawing taut"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences251
matches
0"passed that section"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs112
mean18.79
std20.27
cv1.079
sampleLengths
01
174
210
38
411
559
647
79
821
913
103
1175
125
1323
1416
157
165
1729
183
1912
205
211
2257
234
2433
2538
265
273
284
296
3044
319
3219
334
3412
3512
3628
374
382
3916
4010
4111
4254
436
443
452
4621
4770
4838
493
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences208
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs319
matches
0"was getting"
1"was already moving"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences251
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1851
adjectiveStacks0
stackExamples(empty)
adverbCount58
adverbRatio0.031334413830361965
lyAdverbCount9
lyAdverbRatio0.004862236628849271
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences251
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences251
mean8.39
std5.91
cv0.705
sampleLengths
01
111
230
317
416
55
61
74
88
98
103
1113
128
1312
1412
1514
166
172
182
197
209
212
222
2317
243
256
262
2719
2813
293
3010
314
3220
335
349
3512
3615
375
386
397
4010
419
427
437
445
452
469
4718
483
495
58.70% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.3784860557768924
totalSentences251
uniqueOpeners95
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount7
totalSentences176
matches
0"Then he took a hard"
1"Only hiss answered."
2"Then the crowd took him."
3"Then bells chimed behind her."
4"Officially, a train."
5"Nearly at a rusted iron"
6"Then the thing behind Quinn"
ratio0.04
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount42
totalSentences176
matches
0"Her left wrist flashed as"
1"He had dropped one glove."
2"He was getting tired."
3"her earpiece spat"
4"She cut through a lane"
5"He clutched something under his"
6"They looked past her, towards"
7"He had the sort of"
8"He tipped his chin towards"
9"She started towards the shelves"
10"His smile held pity now."
11"She drove him back into"
12"His pulse beat hard under"
13"He did not look afraid."
14"She took the stairs two"
15"she said, touching her earpiece"
16"She shoved the tray aside."
17"She flashed her badge at"
18"He pushed through a curtain"
19"She followed and felt a"
ratio0.239
76.48% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount135
totalSentences176
matches
0"The shout cracked off the"
1"The man in the charcoal"
2"Detective Harlow Quinn drove after"
3"Her left wrist flashed as"
4"He had dropped one glove."
5"He was getting tired."
6"her earpiece spat"
7"She cut through a lane"
8"A courier on a bicycle"
9"Quinn shoved off a dripping"
10"The suspect glanced back at"
11"A strip of blood at"
12"He clutched something under his"
13"The Raven’s Nest."
14"Quinn hit the door a"
15"Heat punched her face."
16"The bar stank of spilled"
17"Quinn said, badge out"
18"They looked past her, towards"
19"A woman polishing glasses set"
ratio0.767
28.41% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences176
matches
0"Even at this distance she"
ratio0.006
95.24% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences75
technicalSentenceCount5
matches
0"Detective Harlow Quinn drove after him, boots slapping through black water, her breath sawing in her throat."
1"The shelf clicked and swung inwards, leaking a draught that smelled of wet stone, dust, and something sweet gone rotten."
2"An abandoned Tube station, repurposed into something that did not want to be found."
3"Quinn had heard the name in interviews with junkies, smugglers, and one terrified accountant who had swallowed his own tongue before he finished the sentence."
4"Three years ago he had run into a rail tunnel after a suspect with blood on his cuffs and a laugh that did not fit his face."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags16
uselessAdditionCount0
matches(empty)
99.15% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags13
fancyCount3
fancyTags
0"her earpiece spat (spit)"
1"Quinn barked (bark)"
2"she snapped (snap)"
dialogueSentences59
tagDensity0.22
leniency0.441
rawRatio0.231
effectiveRatio0.102
92.4894%