Run: 2026-03-06-01KK1HWV6RRVC6PSRXRP8EHWX2

Run Details

Duration:
1m 14s
Cost:
$0.047180
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Horror 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="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Aurora caught her sleeve on the oak and swore under her breath as the standing stones loomed out of the dark like rotten teeth. The branch sprang back and brushed her cheek with damp leaves. She steadied herself, phone torch clenched in one hand, the other pressed to the warm little weight at her throat. The Heartstone pendant pulsed against her skin, slow and faint, as if it had found a second heartbeat in the grove ahead. “Brilliant,” she murmured. “That’s never meant anything good.” The old oak ring marked the boundary exactly where Eva’s half-drunk source had said it would, past the usual paths in Richmond Park, beyond the dog walkers and cyclists and the broad lawns where London pretended to be civilised. Out here, the park lost its manners. The grass rose in ragged swathes around the stones. Brambles clawed at her boots. The trunks seemed to lean in, bark silvered by the weak beam from her phone. She should have brought someone. That thought had followed her all the way from the gate, and she had ignored it all the way from the gate. Aurora crouched by the nearest stone. Lichen frothed over its surface in pale patches. Under the moss, shallow marks cut the face of the rock, loops and slashes that looked less carved than worried into it by nails. Her torch shook once when she angled the light. There were fresh scratches over the old ones. Not animal. Not weather. Fresh. She touched one line with the tip of her finger. The groove felt slick, as if the stone had been sweating. The pendant warmed sharply. She snatched her hand back. “Fine,” she said to the empty clearing. “I see you. Boundary, portal, cursed nonsense, whatever tonight’s flavour is.” No answer, unless the soft rustle beyond the stones counted. It came from the left, then stopped when she turned. The beam combed over bracken, roots, low white flowers growing where no flowers should have bothered this late in the year. She heard her own breathing, too loud. Then, beneath it, another sound. A child’s laugh. It rose thin and quick somewhere deeper in the grove, no more than a few notes, then cut off so cleanly the silence that followed felt placed there by hand. Aurora stood still. A fox, she told herself at once, because London foxes screamed, barked, laughed, cried like babies and generally behaved as if they had been designed to ruin sleep and sanity. A fox did not fit what she had heard. She knew that, and the part of her mind that still functioned like a barrister’s daughter started listing objections. The sound had been too neat. Too close to human. Worse, it had carried from inside the clearing, not beyond it, and the clearing should have been empty. She stepped between two stones. The world gave way with no drama at all. No thunderclap. No gust. Just a soft slide, like walking through a curtain of cold silk. Her ears popped. The torch dimmed, then steadied. The air changed first. It smelled sweet, thick with crushed petals and water standing too long in a bowl. The grass underfoot softened into something almost springy. In front of her spread the Grove itself, the hidden clearing she had heard of in scraps and jokes and warnings no one would put plainly. Wildflowers quilted the ground in impossible colour, blue and gold and white under the weak light. Trees ringed the place, taller within than they had looked outside, their branches woven so tightly they turned the sky into narrow black seams. The city had vanished. No distant road. No aircraft. No siren. London might have been a lie she had once believed. Aurora let out a slow breath. “Right,” she said. “Now we’re doing this.” She had come because the pendant had started reacting three nights ago whenever she passed mirrors after dark, faint warmth at first, then a steady pulse when she crossed Hammersmith Bridge, then a flare hot enough to sting when she unpacked a takeaway order behind Golden Empress and found, tucked beneath cartons of char siu, a folded scrap of paper with no writing on it except a single line. Find where time bruises. No signature. No explanation. The paper had smelled of old roses. She had burned it in the sink. The ash had stayed pink until morning. A sensible person would have handed the pendant to someone older, stranger, and better armed. A sensible person had not escaped Evan by waiting for rescue. Aurora had learned long ago that if something wanted into your life, you got more from meeting it head-on than from pretending not to hear it scratching. So here she was, alone in a place where time slipped, with a relic from somewhere called Dymas hanging at her throat and no weapon apart from a torch, a keyring, and an ugly talent for solving problems after they had already gone bad. The centre of the clearing held a low pool, black as spilled ink. She had not seen it from outside. Flat stones formed a broken ring around it. Several had toppled inward. One stood upright and narrow, like a marker over a grave. The pendant grew warmer as she approached. Every flower near the water faced the pool. Their stems bent that way. Their heads tilted down, petals open in a posture that looked too much like listening. Aurora stopped on the ring of stones. “Hello?” Her own voice came back a beat late. Hello. Not quite an echo. Softer. Closer to the ground. The hair rose on the back of her neck. She turned in a slow circle. Nothing moved. The clearing looked patient. That was the worst part of it, the lack of effort. If something hunted her here, it did not need to rush. A shape slipped between two trees. She swung the torch. Empty trunks. Silver bark. Flowers. No shape. Then she saw movement again on the far side of the pool, a dark line gliding low through the blossoms. She caught only the end of it before it passed behind the standing stone. Long. Narrow. Not a fox. Too smooth for a person. “Not funny,” she said, because silence invited panic to set the terms. The thing did not answer. It scratched once against stone. Aurora licked dry lips and moved round the pool. Each step sank a little, though the ground looked firm. Water glimmered at the edges of the turf. The sweet smell thickened until it turned rotten underneath, a faint sour note like fruit left in heat. The standing stone bore more of the same scratched marks as the boundary rocks. Only these were deeper, layered over one another so often they made a dark, furred patch in the stone. At its base lay a silver chain. She froze. Not a chain. The silver chain. Her hand flew to her throat. The pendant still hung there. Yet another one lay at the foot of the stone, half buried among flowers, looped exactly as hers always looped, with a deep crimson gem the size of a thumbnail resting against the moss. Her skin tightened over every bone in her body. “No.” She did not bend for it. She took one step back instead. Something moved in the pool. The surface had looked still. Now a circle spread from the centre, then another, as if drops had started falling from above, though nothing fell through the black seams of sky. Aurora pointed the torch at the water. The beam sank only a little way before darkness swallowed it. A face floated up beneath the surface. Her own. Eyes open. Black hair drifting. Mouth slack. Skin pale and greenish in the drowned light below. It pressed from under the water as if from under glass. Aurora stumbled away hard enough to jar her ankle. The beam skittered sideways. When she snapped it back, the face had gone. The laugh came again. Not from the trees now. From just behind her right shoulder. She spun and the torchlight caught a girl standing at the edge of the flowers. About eight years old. Bare feet. A dark dress gone old at the hem. Black hair to the shoulders. Bright blue eyes wide and steady in a narrow face Aurora knew at once, because she saw pieces of it each morning over the sink. The child smiled. Aurora’s left wrist throbbed. The crescent scar there burned as if pressed to a hot coin. “No,” she said again, sharper this time. “You don’t get to do that.” The girl tilted her head. “You came late.” Her own voice, younger, thinner, but hers. Aurora held the torch like a weapon. “What are you?” The girl glanced at the pendant. Her smile widened by a fraction. “That’s the wrong question.” She took one step forward. Flowers folded under her feet without springing back. Aurora stepped back to match it. “I’m not playing.” “You already are.” The child lifted one hand and pointed past Aurora. Aurora looked despite herself. The duplicate pendant at the stone was gone. Something cool brushed the back of her neck. She jerked round, hand slamming over her throat. The chain there had tightened. The crimson stone burned against her chest now, no gentle pulse left in it. Real heat, enough to bite through fabric. She sucked in a breath. The clearing had changed while she looked away. More figures stood between the trees. Not solid at first, just pale interruptions in the dark, but once seen they sharpened. A woman with no face, only smooth skin from brow to chin. A bent man in a long coat made of leaves. A deer too thin to live, with blossoms stuffed into its eye sockets. They stood at even distances around the ring, silent and attentive. The girl had moved closer. “Who sent you here?” Aurora asked. The child ignored that. “You shouldn’t have worn it in.” The pendant’s chain drew tighter again. Aurora hooked two fingers under it and hissed. Silver bit her skin. The gemstone glowed through her shirt, a deep red stain over her sternum. “Take it off,” the girl said. “I gathered that.” Aurora tugged at the clasp behind her neck. It would not give. Her fingers had gone clumsy. The metal felt fused. She dragged the chain forward instead, and pain lanced across her skin as if the pendant had grown hooks. The faceless woman took one soundless step nearer. Aurora backed into the standing stone. Cold slickness soaked through her coat. The scratches at her spine seemed to tremble. “Take it off,” the girl said once more, and now there was strain in that borrowed young voice, urgency cracking through imitation. “Before it opens.” The pool answered with a loud, wet knock from below. Aurora snapped her head towards it. Another knock. Then another, faster. Not from water shifting. Not from branches falling. It came from under the surface, from depth, from something striking upward with patience and growing force. Knock. Knock. Knock. The black water bulged. Every figure around the clearing bent its head towards the pool. Aurora seized the pendant in her fist despite the heat, wrapped the chain round her hand, planted one boot against the stone and pulled with all her weight. The clasp tore free. Not from the chain. From her skin. A bright line of pain ripped across the back of her neck. She fell sideways into the flowers with the pendant clenched tight, silver links slick and warm, something darker than blood running down under her collar. The pool convulsed. Water surged up in one hard column and hung there, shaped around a long head with no eyes and a mouth packed with small white human teeth. The thing inside the water turned towards her without a face to turn, and the child by the flowers opened her mouth far too wide and screamed in Aurora’s own voice.
created_at"2026-03-06T12:27:57.033Z" 3/6/2026, 12:27:57 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency515
moderation_latency(null)
generation_time73652
tokens_prompt4560
tokens_completion3045
native_tokens_prompt4064
native_tokens_completion2468
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.04718
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_038aac781bffd8110169aac84d19b88196a61f88cfa9213ccb"
is_byokfalse
latency168
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-1772800077-0u4a46y8wHKvF2XJRawH"
upstream_id"resp_038aac781bffd8110169aac84d19b88196a61f88cfa9213ccb"
total_cost0.04718
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
18.18% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags8
adverbTagCount2
adverbTags
0"she said again [again]"
1"the girl said once [once]"
dialogueSentences22
tagDensity0.364
leniency0.727
rawRatio0.25
effectiveRatio0.182
95.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2002
totalAiIsmAdverbs2
found
0
adverb"sharply"
count1
1
adverb"tightly"
count1
highlights
0"sharply"
1"tightly"
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)
67.53% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2002
totalAiIsms13
found
0
word"loomed"
count1
1
word"weight"
count2
2
word"pulsed"
count1
3
word"silence"
count2
4
word"silk"
count1
5
word"warmth"
count1
6
word"pulse"
count2
7
word"grave"
count1
8
word"echo"
count1
9
word"throbbed"
count1
highlights
0"loomed"
1"weight"
2"pulsed"
3"silence"
4"silk"
5"warmth"
6"pulse"
7"grave"
8"echo"
9"throbbed"
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
narrationSentences213
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences213
filterMatches(empty)
hedgeMatches
0"tended to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences227
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen69
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2002
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions10
unquotedAttributions1
matches
0"A fox, she told herself at once, because London foxes screamed, barked, laughed, cried like babies and generally behaved…"
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions39
wordCount1930
uniqueNames14
maxNameDensity1.14
worstName"Aurora"
maxWindowNameDensity3.5
worstWindowName"Aurora"
discoveredNames
Heartstone1
Eva1
Richmond1
Park1
London3
Grove1
Hammersmith1
Bridge1
Golden1
Empress1
Evan1
Dymas1
Aurora22
Knock3
persons
0"Eva"
1"Evan"
2"Dymas"
3"Aurora"
places
0"Richmond"
1"Park"
2"London"
3"Grove"
4"Hammersmith"
5"Bridge"
globalScore0.93
windowScore0.5
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences125
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.5
wordCount2002
matches
0"Not solid at first, just pale interruptions in the dark, but once seen they sharpened"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences227
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs108
mean18.54
std19.68
cv1.062
sampleLengths
024
153
28
375
45
522
655
74
81
921
104
115
1218
1353
143
1530
163
1730
1856
195
2025
213
2298
2321
246
257
2669
274
2811
2914
3053
3144
3243
337
3428
357
361
378
381
399
409
4134
426
4311
4444
4512
4610
4745
4840
492
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences213
matches
0"been designed"
1"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs303
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences227
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1932
adjectiveStacks0
stackExamples(empty)
adverbCount75
adverbRatio0.03881987577639751
lyAdverbCount12
lyAdverbRatio0.006211180124223602
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences227
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences227
mean8.82
std8.39
cv0.951
sampleLengths
024
111
220
322
43
55
639
77
89
95
1015
115
1222
136
148
1524
169
178
182
192
201
2110
2211
234
245
257
2611
2710
2810
2921
307
315
323
3330
343
3530
369
3719
386
394
4018
415
429
432
442
4512
463
475
484
4915
44.20% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats18
diversityRatio0.31277533039647576
totalSentences227
uniqueOpeners71
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount8
totalSentences183
matches
0"Then, beneath it, another sound."
1"Too close to human."
2"Just a soft slide, like"
3"Then she saw movement again"
4"Too smooth for a person."
5"Only these were deeper, layered"
6"Bright blue eyes wide and"
7"Then another, faster."
ratio0.044
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount42
totalSentences183
matches
0"She steadied herself, phone torch"
1"She should have brought someone."
2"Her torch shook once when"
3"She touched one line with"
4"She snatched her hand back."
5"she said to the empty"
6"It came from the left,"
7"She heard her own breathing,"
8"It rose thin and quick"
9"She knew that, and the"
10"She stepped between two stones."
11"Her ears popped."
12"It smelled sweet, thick with"
13"She had come because the"
14"She had burned it in"
15"She had not seen it"
16"Their stems bent that way."
17"Their heads tilted down, petals"
18"Her own voice came back"
19"She turned in a slow"
ratio0.23
74.75% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount141
totalSentences183
matches
0"Aurora caught her sleeve on"
1"The branch sprang back and"
2"She steadied herself, phone torch"
3"The Heartstone pendant pulsed against"
4"The old oak ring marked"
5"The grass rose in ragged"
6"Brambles clawed at her boots."
7"The trunks seemed to lean"
8"She should have brought someone."
9"That thought had followed her"
10"Aurora crouched by the nearest"
11"Lichen frothed over its surface"
12"Her torch shook once when"
13"She touched one line with"
14"The groove felt slick, as"
15"The pendant warmed sharply."
16"She snatched her hand back."
17"she said to the empty"
18"It came from the left,"
19"The beam combed over bracken,"
ratio0.77
54.64% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences183
matches
0"If something hunted her here,"
1"Now a circle spread from"
ratio0.011
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences62
technicalSentenceCount2
matches
0"The Heartstone pendant pulsed against her skin, slow and faint, as if it had found a second heartbeat in the grove ahead."
1"It rose thin and quick somewhere deeper in the grove, no more than a few notes, then cut off so cleanly the silence that followed felt placed there by hand."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags8
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount1
fancyTags
0"she murmured (murmur)"
dialogueSentences22
tagDensity0.364
leniency0.727
rawRatio0.125
effectiveRatio0.091
90.1439%