Run: 2026-03-06-01KK1HWDKRJZW1ENVMM2P9BMT6

Run Details

Duration:
1m 11s
Cost:
$0.038692
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 hooded man clipped a woman’s shoulder at the crossing and vaulted a stack of plastic crates, red apples bursting across the pavement under his boots. Detective Harlow Quinn drove after him, one hand on the radio at her shoulder, the other clearing her coat from the holster that slapped against her hip. “Armed unit’s too far out,” the radio hissed. “Then they can read my report after,” Quinn said, and cut left. He had chosen the narrow lane behind a row of takeaway shops, the sort of London artery that stank of frying oil, bleach and old beer. Rain slicked every brick and made the alley shine like black glass. Neon from a betting shop broke apart in the puddles under Quinn’s shoes. Her leather watch clung wet to her wrist. She wiped rain from her eyes with the back of her hand and kept the man’s dark shape centred. He glanced back once. Not fear. Measurement. That sharpened her pace. Most runners looked panicked when they saw the police gaining on them. This one watched her as if he knew her stride, her reach, how long she needed before she committed to a tackle. He cut through a service gate, slammed it behind him, and the metal clanged against Quinn’s shoulder when she hit it a beat later. Pain flashed down her arm. She forced the gate wide and pushed on. “Control, suspect heading south from Camden High Street through the service lanes, male, average build, dark hood, carrying a satchel.” “Any visual on the package?” “He hasn’t dropped it. That tells me it matters.” The answer came back with static and procedure. Quinn let it wash over her. Procedure had not kept Morris alive. Procedure had given her cones, tape, forms, and a body zipped into black plastic while three witnesses swore they had seen no one leave the building. Ahead, the suspect slid across the bonnet of a parked minicab. The driver leaned on the horn and yelled abuse. Quinn rounded the cab instead of copying him. Less dramatic, less chance of a broken ankle. She gained two steps in the manoeuvre. “You’re done,” she shouted. He answered by hurling a glass bottle over his shoulder. Quinn ducked. The bottle smashed against the wall beside her head. Beer and glass sprayed her cheek. She did not slow. Her breath burned. Her knees started their old, familiar protest. Eighteen years on the job gave a person instincts, scars, and joints that sent invoices in bad moments. He burst onto a wider road choked with late traffic. Headlights dragged white bars over the wet tarmac. Horns barked. The suspect threaded between moving cars with appalling grace. Quinn followed with less grace and more authority, palm out, shoulder lowered, forcing a motorcyclist to brake hard enough to fishtail. “Police!” A bus loomed close enough that she felt its wake slap her coat against her legs. Someone inside banged the window and stared. Then she was through, boots hammering the kerb, back in pursuit. The runner cut for Soho instincts in Camden streets, always selecting the path with the most exits, the most bodies, the most noise. Not random. Trained or taught. Quinn watched his shoulders more than his feet. Shoulders told the truth first. When they tightened, he was about to turn. When they dipped, he was about to jump. She had learned that before half the probationers in her unit were born. He darted through a side passage under a railway arch. Sound changed at once. The city tightened around her. Footsteps slapped stone. Water dripped from iron beams overhead in a steady tick-tick-tick. Posters peeled from the walls in wet strips. The suspect’s satchel bounced against his side. Heavy. Not papers, then. Not cash either. Cash moved softer. At the far end of the arch he shoved into a door marked PRIVATE. Quinn hit it five seconds later and found a stairwell dropping into a basement lined with old white tiles. One fluorescent strip buzzed and spat light over a delivery corridor packed with beer kegs, mop buckets and broken chairs. The smell shifted from diesel and rain to mould, rust, and wet concrete. The radio crackled again. “Quinn, hold position till support arrives.” “No.” “Harlow.” That came from her governor. Tight voice. Warning voice. She thumbed the radio off. The corridor ended at another door, steel this time, wedged open with a brick. Beyond it came a low tide of voices, too many for a storage cellar, too calm for a rave, and underneath that, a sound that did not fit at all, a faint chiming hum, like someone striking crystal with a fingernail over and over. Quinn slowed for the first time. She pushed through. The platform stretched under the old Tube tunnel in a long curve of dirty tile and shadow, but it had not stayed abandoned. It throbbed with life. Stalls crowded the track bed and platform edge under hanging lamps, hurricane lanterns, strings of bare bulbs and little blue flames that burned in bowls without smoke. Canvas awnings patched with symbols sagged over tables loaded with things Quinn’s training never covered. Jars of black teeth. Watches without hands. Bird skulls wired with silver thread. Bottles where coloured smoke swam as if alive. An old woman in a fur hat sold strips of dried something from a butcher’s hook, each tagged in neat handwriting. A boy no older than fourteen held a tray of rings that twitched when customers reached near them. The crowd saw her in waves. A few faces turned, then more, then the whole market felt the new shape in it, the outsider in a dark coat with a police warrant card in one pocket and a service weapon under the other arm. Conversations snagged. Trade did not stop, not quite, but it bent around her. The suspect was still moving. He shoved past a stall draped in fox pelts and vanished into the crush near the centre of the platform. Quinn stepped down from the stairs and every nerve in her body tightened. No signs. No exits marked. No cameras she could see. If this place wanted her lost, it could do it neatly. A broad man with tattooed eyelids drifted into her path. “You paid entry?” Quinn flashed her warrant card. “Police.” He looked at the card as if it were a theatre flyer. “Bone token.” “I’m not shopping.” “No token, no market.” She moved around him. His hand closed on her sleeve. “No token.” Quinn caught his thumb, bent it hard, and sent him to one knee with a grunt. “Withdraw your hand.” A murmur rippled through the nearest stalls. Someone laughed. Not kindly. The broad man bared filed teeth and let go. Quinn released him and pushed on, eyes fixed ahead. The suspect had reached the old ticket barriers at the far end of the platform, now half buried under cloth banners and cages full of white rats. He looked back again. This time she saw his face under the hood, pale skin, narrow mouth, a scar beside one eye. Recognition struck late and hard. He had been in the photographs from Morris’s last case. Background only. Blurred near a warehouse door in Limehouse. Dismissed as a bystander because the face was half hidden and the image grainy. Yet there he was, three years older and very much alive. Quinn’s pulse kicked. He ducked through a torn curtain beside a closed kiosk. She should have called it in. She should have left, pulled rank, brought in a team, warrants, whatever passed for warrants when the underground city under London sold jars of moving smoke and expected bone tokens at the door. Instead she followed. The passage behind the curtain narrowed at once, less station now, more burrow. Old service tunnels snaked away in several directions, each marked with chalk symbols and scraps of coloured ribbon tied to pipes. Water ran along a gutter at the centre. Bare bulbs threw weak cones of light that made every shadow look occupied. Footsteps echoed ahead. One man. Fast, but tiring. Quinn drew her gun. “Last chance.” The suspect answered with a slammed door somewhere deeper in the warren. She ran. The tunnel bent right, then dropped down six wet steps into a chamber where old advertising boards leaned against the wall. Faces from dead campaigns stared through mildew. A woman smiled over a perfume bottle with no eyes left. Quinn crossed the chamber and hit the next corridor just in time to see the suspect vanish through another doorway marked with a daubed black handprint. A hand seized her wrist from a side alcove. Quinn pivoted and drove the muzzle up under a jaw before she saw the Saint Christopher medallion swinging against a soaked shirt. Tomás Herrera froze, hands raised, warm brown eyes wide and furious. “Easy, detective. You shoot me, I bleed all over your shoes.” Quinn did not lower the gun. “Move.” “You don’t want that room.” His Seville vowels rounded the words, soft edges over steel. Water ran from his short curls and tracked down the scar on his left forearm where his sleeve had ridden back. “I want the man who just went through that door.” “And I want people to stop opening patients before I stitch them. We don’t always get our wish.” From beyond the marked door came a crash, then shouting, then the brittle scream of glass breaking in quantity. Quinn stepped closer till the gun pressed under his chin. “Who is he?” Herrera looked past the barrel, not flinching, gauging her with the calm of someone used to blood and panic. “Depends which name he gave you.” “That one from Limehouse.” A flicker. There and gone. “So you did see him before.” “Morris died on that case.” Herrera’s jaw worked once. “Then you should leave this tunnel.” “That sounded like a confession.” “That sounded like advice.” The shouting beyond the door rose into a scramble of feet. Somebody yelled in a language Quinn did not know. Then came a heavy thud, a wet one, followed by silence so abrupt it felt staged. Herrera lowered one hand a fraction and touched the black handprint on the wall with two fingers, almost a habit, almost respect. “People go in there with certainty,” he said. “They come out in pieces, or they come out owed. Sometimes both.” “I’ve walked worse rooms.” “Not this kind.” Quinn studied him. Former paramedic, if the whispers in intelligence files had any truth. Off-the-books doctor. Useful to gangs, drifters, and anyone who could not risk a hospital asking ordinary questions after extraordinary injuries. He did not smell frightened. He smelled of antiseptic, tobacco, and the iron tang that clung to people who worked too near open flesh. “Why help him?” Herrera gave a small, humourless smile. “You hear help. I hear triage.” The door behind him shuddered from an impact on the other side. Once. Twice. On the third hit, something clawed across the metal with a high, scraping shriek. Herrera’s expression changed first. Gone was the patience, gone the dry wit. In its place, stark urgency. “Now you understand.” Quinn angled the gun at the door. “Open it.” “No.” “Open it.” “Detective, listen for one second and stay alive for a second after that.” The fourth impact bowed the metal outward. A seam of black liquid leaked under the threshold and spread over the concrete toward Quinn’s boots, moving against the slope, moving with purpose. At the far end of the corridor, market bells began to ring, sharp and frantic. Stalls slammed shut in the distance. Voices turned to screams. Running feet pounded in every tunnel at once. Herrera grabbed Quinn’s sleeve and yanked her back as the lock exploded out of the door.
created_at"2026-03-06T12:27:43.112Z" 3/6/2026, 12:27:43 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency531
moderation_latency(null)
generation_time71177
tokens_prompt4663
tokens_completion3102
native_tokens_prompt4132
native_tokens_completion2486
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"
usage0.038692
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_07b2e94dc3a62f190169aac83f2f20819498288f182da68092"
is_byokfalse
latency261
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-1772800063-kblwvj6FlR0LrLeDOZMX"
upstream_id"resp_07b2e94dc3a62f190169aac83f2f20819498288f182da68092"
total_cost0.038692
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
totalTags4
adverbTagCount0
adverbTags(empty)
dialogueSentences43
tagDensity0.093
leniency0.186
rawRatio0
effectiveRatio0
97.46% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1968
totalAiIsmAdverbs1
found
0
adverb"very"
count1
highlights
0"very"
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)
72.05% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1968
totalAiIsms11
found
0
word"familiar"
count1
1
word"loomed"
count1
2
word"footsteps"
count2
3
word"crystal"
count1
4
word"throbbed"
count1
5
word"pulse"
count1
6
word"echoed"
count1
7
word"flicker"
count1
8
word"silence"
count1
9
word"stark"
count1
highlights
0"familiar"
1"loomed"
2"footsteps"
3"crystal"
4"throbbed"
5"pulse"
6"echoed"
7"flicker"
8"silence"
9"stark"
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
narrationSentences175
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount1
narrationSentences175
filterMatches
0"watch"
1"look"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences214
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
totalWords1968
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
72.90% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions49
wordCount1751
uniqueNames13
maxNameDensity1.54
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn27
London2
Morris2
Soho1
Camden1
Tube1
Limehouse1
Saint1
Christopher1
Herrera7
Seville1
Water3
persons
0"Harlow"
1"Quinn"
2"Morris"
3"Saint"
4"Christopher"
5"Herrera"
6"Water"
places
0"London"
1"Soho"
2"Camden"
3"Limehouse"
4"Seville"
globalScore0.729
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences113
glossingSentenceCount1
matches
0"not quite but it bent around her"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.508
wordCount1968
matches
0"not quite, but it bent around her"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences214
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs111
mean17.73
std22.25
cv1.255
sampleLengths
01
153
28
312
478
54
63
74
871
920
105
119
1246
1343
144
1510
1649
1750
181
1934
2070
2157
2214
2352
244
256
261
271
289
295
3058
316
323
33129
346
3551
365
3754
3810
393
405
411
4212
432
443
454
464
478
4816
493
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences175
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs290
matches
0"was still moving"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences214
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1755
adjectiveStacks0
stackExamples(empty)
adverbCount54
adverbRatio0.03076923076923077
lyAdverbCount3
lyAdverbRatio0.0017094017094017094
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences214
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences214
mean9.2
std7.51
cv0.816
sampleLengths
01
126
227
38
412
526
612
713
88
919
104
112
121
134
1412
1522
1624
175
188
1920
205
219
228
236
246
2526
2611
279
288
298
307
314
3210
332
349
356
364
373
387
3918
4010
418
422
439
4421
451
4616
477
4811
4923
72.43% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.46261682242990654
totalSentences214
uniqueOpeners99
64.94% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences154
matches
0"Then she was through, boots"
1"Instead she followed."
2"Then came a heavy thud,"
ratio0.019
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount29
totalSentences154
matches
0"He had chosen the narrow"
1"Her leather watch clung wet"
2"She wiped rain from her"
3"He glanced back once."
4"He cut through a service"
5"She forced the gate wide"
6"She gained two steps in"
7"He answered by hurling a"
8"She did not slow."
9"Her breath burned."
10"Her knees started their old,"
11"He burst onto a wider"
12"She had learned that before"
13"He darted through a side"
14"She thumbed the radio off."
15"She pushed through."
16"It throbbed with life."
17"He shoved past a stall"
18"He looked at the card"
19"She moved around him."
ratio0.188
67.14% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount121
totalSentences154
matches
0"The hooded man clipped a"
1"Detective Harlow Quinn drove after"
2"the radio hissed"
3"Quinn said, and cut left"
4"He had chosen the narrow"
5"Rain slicked every brick and"
6"Neon from a betting shop"
7"Her leather watch clung wet"
8"She wiped rain from her"
9"He glanced back once."
10"That sharpened her pace."
11"This one watched her as"
12"He cut through a service"
13"Pain flashed down her arm."
14"She forced the gate wide"
15"The answer came back with"
16"Quinn let it wash over"
17"Procedure had not kept Morris"
18"Procedure had given her cones,"
19"The driver leaned on the"
ratio0.786
32.47% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences154
matches
0"If this place wanted her"
ratio0.006
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences72
technicalSentenceCount3
matches
0"Detective Harlow Quinn drove after him, one hand on the radio at her shoulder, the other clearing her coat from the holster that slapped against her hip."
1"Beyond it came a low tide of voices, too many for a storage cellar, too calm for a rave, and underneath that, a sound that did not fit at all, a faint chiming h…"
2"Useful to gangs, drifters, and anyone who could not risk a hospital asking ordinary questions after extraordinary injuries."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount2
fancyTags
0"the radio hissed (hiss)"
1"she shouted (shout)"
dialogueSentences43
tagDensity0.093
leniency0.186
rawRatio0.5
effectiveRatio0.093
92.6463%