Run: 2026-03-06-01KK1J6AN0Y5SWZWEMZTYAYQDC

Run Details

Duration:
1m 17s
Cost:
$0.041632
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Thriller genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
“Stop!” The man in the dark coat glanced back once, enough for Detective Harlow Quinn to catch the pale slash of his cheekbone and the panic in his eyes, then he slammed a shoulder through a knot of late drinkers and bolted across the road. A horn blared. Tyres hissed on wet tarmac. Quinn vaulted the bonnet of a black cab, landed hard, and kept running. Her leather watch smacked against her wrist bone with each stride. Water slicked her cropped hair to her scalp and turned the city into a smear of light, green pharmacy signs, red brake lamps, the dirty gold of pub windows. Soho narrowed and twisted ahead of her, alleys feeding into streets, streets coughing her back into crowds that cursed and scattered as she drove through them with military precision. “Police!” No one cared. They only flinched out of her way after they saw her face. The suspect cut left past a shuttered sex shop and clipped a stack of bin bags. Black plastic burst under his heel. Rot hit the air, sour fruit and old beer. Quinn hurdled the spill, eyes fixed on his back. Mid-thirties. Tall. Limp in the right leg that came and went when fear overrode pain. Grey wool coat. Messenger bag tucked tight against his ribs. The bag mattered. Men did not sprint through central London in a downpour for an interview and a sandwich. He ducked beneath the green neon sign of The Raven’s Nest and vanished inside. Quinn hit the door a breath later. The bar swallowed the street noise at once. Bass thudded low beneath murmured talk. Old maps papered the walls in yellowing curls. Black-and-white photographs watched from crooked frames, soldiers, boxers, women with fox fur collars and hard eyes. The room smelled of wet wool, spilled gin, and the sweet burn of something herbal from the back tables. The barman looked up, broad shoulders stilled over a glass he had been polishing. “Your man just ran through,” he said. Quinn did not break pace. “Helpful of you.” “Not for you.” He jerked his chin towards the rear. A few patrons tracked her with the flat interest of people who knew trouble on sight and preferred not to stand too close to it. One woman in a velvet jacket lowered her cigarette and smiled without warmth. A skinny lad with silver rings tapped ash into an empty pint glass and turned away before Quinn could pin a question on him. She shoved through the back corridor. The suspect had knocked over a chair. It spun on one leg, still moving. Beyond it stood a bookshelf crammed with cracked hardbacks and chipped porcelain birds. The shelf hung open. Quinn slowed for the first time. A hidden room. Clever. Soho loved its secrets, but this one had the stale breath of old use. She slipped through the narrow gap with one hand inside her coat, fingers close to the grip of her service weapon, though the weight comforted less than it should have. The back room spread out under a low ceiling crossed by exposed pipes. A single lamp swung above a scarred table covered in ledgers, wax drips, and empty glasses. At the far wall, a steel door slammed. She lunged, caught the handle, and yanked. Locked. “Of course.” The keyhole had been altered. Not a normal warded lock. Bone dust packed the edges. Symbols, tiny and scratched by hand, ringed the plate. Quinn crouched. She had seen enough odd crime scenes in three years to know when something had stepped over the line between theatre and ritual. DS Morris had died on the wrong side of that line. Ever since, she had collected scraps, symbols, names nobody printed, substances no lab could classify without going quiet for a week. She had not understood any of it. She understood this much, though. Someone wanted the wrong people kept out. Footsteps sounded behind her. She pivoted. Tomás Herrera stood in the gap by the bookshelf, damp curls plastered to his forehead, a canvas medical bag hanging from one hand. His warm brown eyes dropped to her pistol, then to the lock. “Well,” he said, the Spanish cadence soft under his London edges, “this evening has gone to hell.” Quinn rose. “You’re out late for a man who lost his licence.” “You lot keep odd hours. I adapt.” He noticed more than most. The scar along his left forearm showed where his sleeve had ridden up. The Saint Christopher medallion at his throat glinted once under the lamp. “You know who I’m chasing.” “I know who ran in here.” “Name.” Herrera gave a small shrug. “Name’s expensive.” Quinn stepped close enough to smell antiseptic on him beneath the damp cloth and bar smoke. “Obstructing an investigation is cheaper than what comes after.” “Depends who writes the bill.” A shout echoed from beyond the steel door. Not fear. Warning. Then the muffled grind of bolts drawn back from the other side. Herrera’s gaze snapped to the lock. “That’s not good.” “You expect me to believe you’re just passing through?” “No. I expect you to believe I know when a room turns dangerous.” He shifted his bag onto his shoulder. “Your runner has no business opening that door without an escort.” “Escort to where?” He looked at her, measured, then laughed once without humour. “You’ve heard rumours. Everyone in your trade has. Missing evidence. Witnesses who vanish under Camden and reappear with cash, scars, or no tongue. The Veil Market.” The name landed cold. Quinn had it in three notebooks, always half-erased by snitches who regretted speaking. Underground market. Bone token entry. Full moon movement. Contraband. Information. Things nobody sane admitted existed. “You’re confirming a fairy tale.” “I’m telling you your suspect just ran into a place with rules you don’t know.” Metal clacked. The lock released with a sound too deep for machinery. The steel door eased inward by itself. Air rose from the stairwell beyond, cold and mineral, carrying scents that did not belong together, wet stone, hot copper, cloves, blood, old train grease. Somewhere below, a bell chimed three flat notes. Herrera muttered something in Spanish. Quinn kept her eyes on the opening. “You’re coming with me.” “No.” She turned. “No?” Her voice cut sharper than the steel. “No,” he repeated. “I patch up foolish people. I do not volunteer to become one.” He pointed at the stairwell. “Down there, the uniforms and warrant cards mean nothing. If you shove your badge in the wrong face, they’ll laugh while they pull your teeth.” “I’m touched by your concern.” “It’s not concern. It’s triage.” She took one step down. The stair treads were old tiled concrete, cracked and slick. The walls curved inward, old Tube architecture buried behind newer brick. Faded advertisements peeled in strips, seaside holidays, cigarettes, a West End revue decades dead. Someone had painted symbols over them in fresh black strokes. Herrera caught her sleeve. His grip was firm, medic’s hands, practical, unromantic. “You need a token.” “So I’ve heard.” “No token, no welcome.” Quinn peeled his hand off. “I’m not asking for welcome.” “Then ask for survival.” A shape moved at the bottom of the stairs. The suspect. Only a glimpse, grey coat flashing past a bend, messenger bag still clutched tight. Quinn went. Herrera swore and followed. The stairs dropped deeper than they should have. City sound died above them, replaced by a low subterranean thrum, the breath of trains that no longer ran, or something large pretending to be one. Water dripped from the ceiling in patient taps. Quinn kept one hand brushing the wall and counted junctions out of habit. Left spur blocked by a rusted gate. Right spur lit by a red lantern and stacked with crates stamped in languages she did not know. Straight on, the tunnel widened. Then it opened all at once. The old platform of an abandoned station stretched under a vault of smoke-blackened tiles. Market stalls crowded the tracks and platform edge in dense rows of canvas, timber, brass, and salvaged iron. Lamps hung from hooks and signal posts, some electric, some oil, some burning with a blue flame that gave no smoke. Traders barked over one another in English, Polish, Arabic, Spanish, accents from across London and far beyond it. Glass jars held preserved things with too many teeth. Chains of dried herbs hung beside knives with etched black blades. A woman in a white fur coat sold tiny bottles of luminous liquid from a pram. A child with ink-dark eyes weighed coins on a butcher’s scale. Men in expensive suits haggled over a crate that twitched under its tarp. The tracks themselves had become aisles. Planks bridged the rails. Chalk marks scored the sleepers in circles and grids. The old station roundel still clung to one wall beneath graffiti and soot, half swallowed by a stall selling masks made from antlers, bone, and silver wire. Quinn stopped at the edge of it and felt, for one bare second, the city tilt. Herrera came up beside her, breathing hard. “Decision time, detective.” He kept his voice low. Even so, heads turned. A few faces sharpened with interest. Outsiders stood out here the way blood stood out in milk. “Which one is him?” Herrera did not answer at once. He was scanning the crowd with a clinician’s eye, fast and exact. “There.” He nodded towards the far end of the platform. “By the old ticket office.” The suspect shoved through a cluster of buyers near a stall draped in black netting. He glanced back and saw Quinn. His mouth opened in a curse she could not hear over the market noise. Then he ducked behind a column striped in flaking cream paint. Quinn moved. A hand blocked her path. Not Herrera’s. A woman stepped from the nearest stall, middle-aged, heavy gold rings in both ears, butcher’s apron smeared with something darker than animal blood. She held out her palm. In it lay a small carved token, yellow-white and polished smooth. “Entry fee.” Quinn looked at the token, then at her. “Police.” The woman smiled. One canine was filed to a point. “Then double.” Herrera spoke before Quinn could. “Put it on Silas’s slate.” The woman snorted. “Silas collects debts in stories and whisky. This one smells of handcuffs.” “Fine,” Herrera said. He dug into his pocket, pulled a bone token of his own, and slapped it into her palm. “Mine.” The woman closed her fingers around it and stepped aside. “You owe me,” Herrera said. Quinn was already past him. The market tried to swallow her. Bodies pressed in from both sides. Cloth brushed her coat. Someone laughed too close to her ear. Metal clanged on metal. A vendor thrust a tray of black candles under her nose. “Protection for grief, sweetheart.” She shoved it away and kept going. The suspect reappeared ahead, skidding around a stall stacked with bird cages. The cages shook as he hit them. Inside, things fluttered and hissed. Quinn shouldered through a pair of men arguing over a velvet pouch and vaulted the corner of a display table. Glass vials rattled and toppled behind her. “Oi!” “Send me the bill.” She reached the old ticket office just in time to see the suspect disappear through a gate marked STAFF ONLY in cracked enamel. Not abandoned then. Not even close. Herrera caught up, chest heaving. “That passage goes under the north tunnel.” “Good.” “No, not good. Private route. Guarded.” Quinn seized the gate and rattled it. Chain on the inside. Padlock thick as a fist. The suspect’s grey coat flickered once in the darkness beyond. She drew her pistol. Half the nearest platform fell silent. The silence spread in a ripple. Traders looked up. Buyers froze. Somewhere, glass broke. Herrera’s face tightened. “Put that away.” “Open it.” “You don’t understand where you are.” “I understand I’m close.” A new sound rose under the hush, boots on metal stairs, several pairs, disciplined and quick. Quinn turned towards it. At the far end of the platform, a line of figures emerged from a shadowed service tunnel. Long coats. Batons. Shotguns cut short at the barrel. Their leader wore a railway inspector’s cap with a strip of red cloth tied round one arm. Human at first glance. Then he smiled, and the smile showed too many teeth. His gaze settled on Quinn’s pistol, then lifted to her face. “Well now,” he called. “Who brought a detective?”
created_at"2026-03-06T12:33:07.761Z" 3/6/2026, 12:33:07 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency385
moderation_latency(null)
generation_time76469
tokens_prompt4663
tokens_completion3332
native_tokens_prompt4132
native_tokens_completion2682
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"
usage0.041632
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_046983c72c1df0a00169aac983d2e08195b06cb77091ae58f5"
is_byokfalse
latency136
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-1772800387-zLHcVh6uofYS9bj1IeFx"
upstream_id"resp_046983c72c1df0a00169aac983d2e08195b06cb77091ae58f5"
total_cost0.041632
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
totalTags9
adverbTagCount0
adverbTags(empty)
dialogueSentences60
tagDensity0.15
leniency0.3
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2081
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)
66.36% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2081
totalAiIsms14
found
0
word"velvet"
count2
1
word"warmth"
count1
2
word"porcelain"
count1
3
word"weight"
count1
4
word"footsteps"
count1
5
word"echoed"
count1
6
word"measured"
count1
7
word"electric"
count1
8
word"etched"
count1
9
word"scanning"
count1
10
word"fluttered"
count1
11
word"flickered"
count1
12
word"silence"
count1
highlights
0"velvet"
1"warmth"
2"porcelain"
3"weight"
4"footsteps"
5"echoed"
6"measured"
7"electric"
8"etched"
9"scanning"
10"fluttered"
11"flickered"
12"silence"
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
narrationSentences198
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences198
filterMatches
0"watch"
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences248
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
totalWords2081
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions0
matches(empty)
79.42% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions58
wordCount1771
uniqueNames17
maxNameDensity1.41
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Quinn"
discoveredNames
Detective1
Harlow1
Quinn25
London3
Raven1
Nest1
Morris1
Herrera14
Spanish3
Saint1
Christopher1
Tube1
West1
End1
English1
Polish1
Arabic1
persons
0"Harlow"
1"Quinn"
2"Raven"
3"Morris"
4"Herrera"
5"Saint"
6"Christopher"
places
0"London"
1"Spanish"
2"West"
3"End"
globalScore0.794
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences123
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2081
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences248
matches
0"crowds that cursed"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs116
mean17.94
std22.05
cv1.229
sampleLengths
01
165
269
31
415
565
619
714
87
957
1014
117
128
133
147
1562
1633
174
186
1985
207
211
222
2324
2476
254
262
2735
2817
2912
307
3130
325
336
341
357
3625
375
3823
396
403
419
4231
433
4436
454
4628
475
4815
4919
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences198
matches
0"been altered"
1"was filed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs301
matches
0"was scanning"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences248
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1779
adjectiveStacks1
stackExamples
0"middle-aged, heavy gold"
adverbCount53
adverbRatio0.029792017987633503
lyAdverbCount3
lyAdverbRatio0.0016863406408094434
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences248
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences248
mean8.39
std6.72
cv0.801
sampleLengths
01
144
23
35
413
511
629
729
81
93
1012
1116
126
139
149
151
161
1713
183
197
203
2116
2214
237
248
256
268
2716
2819
2914
307
315
323
333
347
3525
3613
3724
386
397
407
4113
424
436
443
451
4614
4730
4813
4916
66.53% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.42338709677419356
totalSentences248
uniqueOpeners105
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount8
totalSentences172
matches
0"Ever since, she had collected"
1"Then the muffled grind of"
2"Somewhere below, a bell chimed"
3"Only a glimpse, grey coat"
4"Then it opened all at"
5"Then he ducked behind a"
6"Somewhere, glass broke."
7"Then he smiled, and the"
ratio0.047
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount32
totalSentences172
matches
0"Her leather watch smacked against"
1"They only flinched out of"
2"He ducked beneath the green"
3"He jerked his chin towards"
4"She shoved through the back"
5"It spun on one leg,"
6"She slipped through the narrow"
7"She lunged, caught the handle,"
8"She had seen enough odd"
9"She had not understood any"
10"She understood this much, though."
11"His warm brown eyes dropped"
12"he said, the Spanish cadence"
13"He noticed more than most."
14"He shifted his bag onto"
15"He looked at her, measured,"
16"Her voice cut sharper than"
17"He pointed at the stairwell"
18"She took one step down."
19"His grip was firm, medic’s"
ratio0.186
67.56% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount135
totalSentences172
matches
0"The man in the dark"
1"A horn blared."
2"Tyres hissed on wet tarmac."
3"Quinn vaulted the bonnet of"
4"Her leather watch smacked against"
5"Water slicked her cropped hair"
6"Soho narrowed and twisted ahead"
7"They only flinched out of"
8"The suspect cut left past"
9"Quinn hurdled the spill, eyes"
10"Messenger bag tucked tight against"
11"The bag mattered."
12"Men did not sprint through"
13"He ducked beneath the green"
14"Quinn hit the door a"
15"The bar swallowed the street"
16"Bass thudded low beneath murmured"
17"The room smelled of wet"
18"The barman looked up, broad"
19"Quinn did not break pace."
ratio0.785
29.07% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences172
matches
0"Even so, heads turned."
ratio0.006
92.56% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences71
technicalSentenceCount5
matches
0"Soho narrowed and twisted ahead of her, alleys feeding into streets, streets coughing her back into crowds that cursed and scattered as she drove through them w…"
1"A few patrons tracked her with the flat interest of people who knew trouble on sight and preferred not to stand too close to it."
2"Quinn had it in three notebooks, always half-erased by snitches who regretted speaking."
3"Air rose from the stairwell beyond, cold and mineral, carrying scents that did not belong together, wet stone, hot copper, cloves, blood, old train grease."
4"Men in expensive suits haggled over a crate that twitched under its tarp."
69.44% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags9
uselessAdditionCount1
matches
0"he said, the Spanish cadence soft under his London edges,"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount1
fancyTags
0"he repeated (repeat)"
dialogueSentences60
tagDensity0.1
leniency0.2
rawRatio0.167
effectiveRatio0.033
92.1647%