Run: 2026-03-06-01KK1HWQ6XRR2DW29YD7ZFVC7A

Run Details

Duration:
1m 18s
Cost:
$0.040987
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 runner cut hard across the road, vaulted a row of black bins and vanished into an alley behind a shuttered off-licence. Detective Harlow Quinn slammed a palm against the corner wall to keep her balance, her shoes skidding on slick grit, then drove after him with the clipped, economical pace that had carried her through eighteen years of foot chases, riots and armed entries. Her coat snapped at her knees. Water slapped her face. Ahead, the suspect’s hood flashed once in the blue pulse of traffic lights, then dipped out of sight. “Armed police, stop!” A lie, and a useful one. It bought her half a heartbeat. The man glanced back. Young. Pale. Narrow face. A sharp chin dark with stubble. Not the one who had made the hand-off in Soho, but close enough to matter. He crashed through stacked crates behind the off-licence. Bottles burst. Sour beer and bleach stung the air. Quinn hurdled the wreckage and kept her eyes on his shoulders. People looked where they planned to go. Desperate men looked where they feared to die. He did both. Left at the alley mouth, right through a service lane, then down a cramped passage between a chicken shop and a betting office where grease and old urine turned the ground into slime. Her radio crackled at her shoulder. “Quinn, report.” “No time.” “Quinn.” “Suspect on foot, heading north from Greek Street. Male, twenties, grey hood, dark jacket. Tell units not to flood the area. He’s got a route.” She clipped the radio off before control could answer. Too many boots on the ground and he would spook. Men like this always had burrows. He burst out into Camden High Street foot traffic, scattering late drunks and smokers huddled under awnings. A woman shrieked as he shoved past. Quinn followed, shoulder-first, using her weight, not speed. Her left hand brushed the worn leather watch on her wrist as she checked distance by instinct. Thirty feet. Less when he slipped. More when a taxi nosed through the junction and forced her to break stride. He looked back again. This time she saw fear plain on him. Not fear of arrest. Different. More primal. He kept touching his chest through the jacket as if checking for something hidden there. A package. A token. Information. That fit the hand-off she had watched from the doorway of a coffee shop in Soho, half her face reflected in the glass beside a tray of stale pastries. Two men, no greeting, no eye contact, one pressed exchange. Textbook streetcraft, except one of them had worn a silver ring carved with symbols she had seen once before, scorched into plaster around Morris’s body. Three years gone, and the memory still arrived with teeth. The suspect vaulted a low rail and pelted down the stairs to the Underground entrance, taking them two at a time. Quinn swore and followed. Her soles smacked wet concrete. Commuters cursed as she shouldered through them. The station smell rose up, brake dust, wet wool, electricity and old stone. He didn’t slow for the ticket barriers. He slid over one, caught a heel, nearly went down, recovered. Quinn flashed her warrant card at a station worker whose mouth had just opened. “Police.” She went through the side gate before he could object. The platform lay ahead in bright strips of hard light. The suspect didn’t aim for a train. He took the maintenance door at the far end, the one with the red KEEP OUT sign and the chain hanging loose as if someone had cut it and draped it back to look intact from a distance. That made Quinn slow. Not much. Two strides, perhaps. Long enough to let caution tap her shoulder. No uniform support. No firearms team. No idea what waited beyond that door. The suspect vanished through it. Quinn reached the platform edge and stopped just short of the threshold. Voices echoed on the tiled walls behind her. A train wailed somewhere deeper in the line. Water dripped from a cracked seam in the ceiling and ticked against the yellow safety strip. She put one hand on the butt of her issued Taser, though she distrusted the thing. Battery life and cartridge spread had never inspired faith. Her radio came alive again. “Quinn, where are you?” She kept her eyes on the dark gap beyond the maintenance door. “At Camden.” “Uniforms are three minutes out.” “Make it one.” “Three.” The old calculation moved through her mind with military precision. Stay put, preserve chain of command, wait for bodies and torches and statements and someone from Transport for London demanding to know why a detective had broken station protocol. Or go now, alone, while the trail still held warmth. She had seen what waiting did. Waiting gave men time to bleach floors, burn ledgers and cut tongues out of witnesses. Waiting had left Morris dead in a room with all the windows closed and frost on the inside of the glass. Quinn ducked through the door. The noise of the platform dropped behind her as if a hand had shut over her ear. The tunnel beyond narrowed at once, service brick slick with black damp. A weak bulb buzzed overhead, then another twenty yards on. Between them sat pockets of dark that looked thick enough to bruise. Her footfalls changed too, the sound flattening on rough cement. Someone had used the passage often. The dust was broken by tracks, fresh, layered, many. Not a burrow. A thoroughfare. The air shifted as she went deeper. Less station, more cellar. Coal soot. rust. Melted candle wax. The sweet rot of old fruit. Somewhere ahead, voices murmured in a dozen accents. Coins clinked. A child laughed once, then the laugh snapped short. Quinn moved with one hand brushing the wall. Moisture cooled her fingers. She passed an old station sign half torn from the brick, only a few letters left, then stepped through a short arched throat in the tunnel and stopped cold. The market opened beneath Camden like a hidden organ, alive and damp and beating. Stalls crowded the abandoned platform and spilled onto the dead tracks below. Bare bulbs hung from cables and painted everything a weak nicotine yellow. Tarpaulins sagged between pillars. Painted signs in chalk, ink and symbols she did not know dangled from chains. Traders stood behind trestle tables stacked with things that made no sense in any lawful inventory, stoppered bottles full of glimmering sediment, teeth wired into necklaces, old books with clasps, folded suits wrapped in black paper, jars that held pale things floating in clear fluid. People packed the aisles shoulder to shoulder. Some looked ordinary enough until a second glance caught what the first had missed, eyes too reflective, joints bending wrong, skin with a sheen like fish scales beneath powder, mouths full of needle teeth hidden behind lazy smiles. Others made no attempt at disguise. A woman with antlers threaded with brass charms haggled over a sack of bones. A broad man with tattooed eyelids sold knives from a butcher’s block. Near the far tunnel mouth, a cage rattled and something inside it hissed at the crowd. No one shouted. No one hawked their wares. The noise stayed low, intimate, all menace and money. As Quinn stepped into view, the nearest conversations folded shut one by one. She had crashed parties before. Nothing like this. A bookseller on her left, old, narrow, face wrinkled like paper left in rain, sniffed the air. “Police,” he said, not loudly. The word passed stall to stall without rising. Police. Police. Police. Quinn let her warrant card show for a moment, then tucked it away. Bad move to flash state authority when half the room traded in things the state did not admit existed. She scanned the crowd and found her runner fifty feet ahead, weaving past a table lined with glass vials. He looked back, saw she had followed, and panic cracked him open. He shoved a customer so hard the man fell across a crate of jars. Something inside one jar slapped against the glass. Traders began to swear. The crowd bunched. Quinn drove into it before the gap closed. “Move.” No one obeyed until she made them. She shoved a shoulder here, twisted sideways there, ducked under a rack of hanging charms that chimed against her hair. Fingers brushed her coat pocket. She caught a wrist without looking and bent it back until the pickpocket hissed and withdrew. The suspect kicked over a basket of white powder. It burst across the floor in a cloud that glittered under the bulbs. Two women screamed and covered their mouths. Quinn pulled her collar over her nose and pushed through, eyes watering. A man in a butcher’s apron blocked her path. He held a cleaver stained black. “You don’t belong.” “Then bill me later.” She rammed his chest with both hands. He staggered back into his own stall, cleaver hacking a side of hanging meat as he windmilled for balance. The crowd scattered from the blade. Quinn used the opening and sprinted on. The runner reached an archway draped with bead curtains made from vertebrae and brass. He glanced over his shoulder one last time, then plunged through. A hand caught Quinn’s sleeve. “Don’t.” She turned. Tomás Herrera stood half in shadow beside a medicine stall tucked into a niche in the wall, sleeves rolled, olive skin lit amber by a paraffin lamp. Glass bottles and folded packets lined the shelf behind him. His short dark curls clung damply to his forehead. The scar along his left forearm shone pale as he tightened his grip. A Saint Christopher medallion glinted at his throat. Quinn knew his face from three interviews and one file thick with redactions. Former paramedic. Unlicensed. Associated with people who kept surfacing near corpses and impossible injuries. “Convenient place to run into you, Herrera.” “Not for me.” His voice carried the warm edges of Seville worn thinner by London. “You should leave.” “Where did he go?” “Home, if he has any sense.” She yanked her arm free. “You’re obstructing.” “You walked into the wrong throat of the city.” His eyes flicked to the bead curtain, then over her shoulder as the market resumed a strained murmur. “This place bites back.” “Good. I’m in the mood.” For the first time, annoyance sharpened him. “You still think this is a den of dealers and oddballs. Listen to me. Men with warrants vanish here. Men with knives vanish faster.” “I’ll risk it.” “Not your choice alone.” He tipped his chin behind her. Quinn turned. Three figures had stepped into the aisle and sealed it. The butcher with the black-stained cleaver. A thin woman with antlers and a smile that showed filed teeth. A huge man in a dark suit, his bald head covered in small ritual scars. Others watched from their stalls without moving. The market had decided to become one body, and every eye served it. The huge man spoke with perfect calm. “Bone token?” Quinn stared. “No.” “Then you entered uninvited.” “I’m pursuing a suspect in an active investigation.” “On the street, that matters.” He spread his hands. The scars on his scalp caught the light like pale worms. “Here, it doesn’t.” Quinn set her feet. Her pulse steadied, the old service calm kicking in, that cold narrowing of the world to exits, hands, weapons, angles. She could still force her way out. Perhaps. Or she could go through them and after the runner. If she lost him now, this market would fold up around its secrets and spit her back to the surface with nothing but damp shoes and a report no one would believe. Tomás took one step closer, low voice pitched for her alone. “The idiot you chased carries a bone token in his pocket. He stole it. That makes him prey.” He held her gaze. “If you keep running, you become sport.” The bead curtain at the archway rattled. The suspect burst back through it with blood on his mouth and no token in his hand. “They’re coming,” he gasped. Something huge hit the far side of the curtain, hard enough to snap the brass wire and send vertebrae skittering across the floor. The market recoiled in a single breath. Bottles toppled. Someone shouted in a language Quinn did not know. The curtain bulged again, and a claw, long, wet, jointed wrong, tore through the hanging bones.
created_at"2026-03-06T12:27:52.943Z" 3/6/2026, 12:27:52 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency565
moderation_latency(null)
generation_time78128
tokens_prompt4663
tokens_completion3232
native_tokens_prompt4132
native_tokens_completion2639
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"
usage0.040987
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_03fc970812ef18860169aac84905988190bb5ea1542bca90bd"
is_byokfalse
latency159
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-1772800072-Krv0pg27bFjSSMhxVkpl"
upstream_id"resp_03fc970812ef18860169aac84905988190bb5ea1542bca90bd"
total_cost0.040987
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
totalTags5
adverbTagCount0
adverbTags(empty)
dialogueSentences38
tagDensity0.132
leniency0.263
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2080
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)
80.77% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2080
totalAiIsms8
found
0
word"pulse"
count2
1
word"weight"
count1
2
word"echoed"
count1
3
word"warmth"
count1
4
word"scanned"
count1
5
word"flicked"
count1
6
word"perfect"
count1
highlights
0"pulse"
1"weight"
2"echoed"
3"warmth"
4"scanned"
5"flicked"
6"perfect"
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
narrationSentences193
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences193
filterMatches
0"watch"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences226
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen45
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2080
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions3
unquotedAttributions0
matches(empty)
97.26% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions44
wordCount1896
uniqueNames17
maxNameDensity1.05
worstName"Quinn"
maxWindowNameDensity2
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn20
Soho2
Camden2
High1
Street1
Morris2
Underground1
Taser1
Transport1
London2
Herrera1
Saint1
Christopher1
Seville1
Two3
Police3
persons
0"Harlow"
1"Quinn"
2"Morris"
3"Herrera"
4"Saint"
5"Christopher"
places
0"Soho"
1"Camden"
2"High"
3"Street"
4"Underground"
5"Transport"
6"London"
7"Seville"
globalScore0.973
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences134
glossingSentenceCount1
matches
0"as if checking for something hidden there"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.481
wordCount2080
matches
0"Not the one who had made the hand-off in Soho, but close enough to matter"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences226
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs93
mean22.37
std25.06
cv1.121
sampleLengths
01
193
23
316
425
579
66
72
82
91
1025
1125
1269
1334
145
1564
1610
1768
1814
191
2010
2155
224
2313
2413
255
2669
275
284
2912
302
315
323
331
3449
3542
365
3776
385
3942
4041
4114
4287
4393
4430
458
4617
475
4811
4932
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences193
matches
0"was broken"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs335
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences226
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1902
adjectiveStacks1
stackExamples
0"low, intimate, all menace"
adverbCount46
adverbRatio0.024185068349106203
lyAdverbCount4
lyAdverbRatio0.002103049421661409
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences226
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences226
mean9.2
std7.86
cv0.854
sampleLengths
01
122
243
36
44
518
63
76
86
94
101
111
122
136
1415
158
162
177
1811
197
208
213
2233
236
242
252
261
2725
289
2910
306
3117
327
338
3417
352
364
3714
384
398
404
411
422
4315
442
452
461
4729
4810
4925
58.55% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats16
diversityRatio0.3938053097345133
totalSentences226
uniqueOpeners89
59.88% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences167
matches
0"Too many boots on the"
1"More when a taxi nosed"
2"Somewhere ahead, voices murmured in"
ratio0.018
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount42
totalSentences167
matches
0"Her coat snapped at her"
1"It bought her half a"
2"He crashed through stacked crates"
3"He did both."
4"Her radio crackled at her"
5"She clipped the radio off"
6"He burst out into Camden"
7"Her left hand brushed the"
8"He looked back again."
9"He kept touching his chest"
10"Her soles smacked wet concrete."
11"He didn’t slow for the"
12"He slid over one, caught"
13"She went through the side"
14"He took the maintenance door"
15"She put one hand on"
16"Her radio came alive again."
17"She kept her eyes on"
18"She had seen what waiting"
19"Her footfalls changed too, the"
ratio0.251
61.80% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount133
totalSentences167
matches
0"The runner cut hard across"
1"Detective Harlow Quinn slammed a"
2"Her coat snapped at her"
3"Water slapped her face."
4"A lie, and a useful"
5"It bought her half a"
6"The man glanced back."
7"A sharp chin dark with"
8"He crashed through stacked crates"
9"Quinn hurdled the wreckage and"
10"People looked where they planned"
11"He did both."
12"Her radio crackled at her"
13"She clipped the radio off"
14"Men like this always had"
15"He burst out into Camden"
16"A woman shrieked as he"
17"Quinn followed, shoulder-first, using her"
18"Her left hand brushed the"
19"Less when he slipped."
ratio0.796
29.94% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences167
matches
0"If she lost him now,"
ratio0.006
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences77
technicalSentenceCount4
matches
0"Detective Harlow Quinn slammed a palm against the corner wall to keep her balance, her shoes skidding on slick grit, then drove after him with the clipped, econ…"
1"He took the maintenance door at the far end, the one with the red KEEP OUT sign and the chain hanging loose as if someone had cut it and draped it back to look …"
2"Traders stood behind trestle tables stacked with things that made no sense in any lawful inventory, stoppered bottles full of glimmering sediment, teeth wired i…"
3"Associated with people who kept surfacing near corpses and impossible injuries."
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags5
uselessAdditionCount1
matches
0"he said, not loudly"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount1
fancyTags
0"he gasped (gasp)"
dialogueSentences38
tagDensity0.053
leniency0.105
rawRatio0.5
effectiveRatio0.053
90.2399%