Run: 2026-03-06-01KK1J7AF9R4PHD2R7XMZHJB2N

Run Details

Duration:
1m 5s
Cost:
$0.040835
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 Carter caught her sleeve on a thorn branch and almost dropped the torch. “Damn it.” The word came out small, swallowed at once by the trees. She tugged free, checked the screen of her phone again, and stared at the pin she had saved that morning. The map still showed Richmond Park, a pale green shape and a blue dot drifting near the edge of nowhere, but the path under her boots had narrowed into something no official route admitted to. Brambles had knitted over the fence line. Roots rose through the soil like knuckled hands. Ahead, between the black ribs of old oaks, pale stone lifted from the ground. So. Not a prank, then. She shoved the phone into her coat pocket and touched the pendant through the wool. The Heartstone answered at once, a faint pulse against her chest, warm as a held breath. It had done that twice before, once in an alley in Whitechapel where a thing with too many joints had stepped out of a wall, and once beneath Holborn where the tiled corridor had opened into somewhere older than London had any right to be. Both times, trouble had followed. “Brilliant,” she muttered. “Exactly what I wanted.” That was not true. What she wanted was an answer. Three nights ago, a slip of paper had appeared under her flat door above Silas’ bar. No name. No signature. Just a line in a neat hand: If you want to know who gave you the red stone, come to the grove beyond the old boundary. Come alone. She had spent a full day calling it stupid. Then she had come anyway. Aurora moved on. The torch beam slid across the standing stones and found the carvings cut into them, loops and branching lines softened by age. Oak roots coiled around the bases as if the trees had grown to keep the stones from leaving. Wildflowers crowded the clearing beyond in a scatter of white and violet, wrong for the season, wrong for the dark, each petal sharp as paper in the torchlight. The air changed when she stepped between the first two stones. Not colder. Not warmer. Denser. She stopped at once. Her ears gave a painful little pop. The distant hush of the city vanished, no road noise, no late plane, no barking dog from some estate half a mile away. The silence did not feel empty. It felt occupied. Aurora turned slowly, torch raised. The path behind her still showed, but it looked farther away than it should. The stones seemed taller too, their surfaces slick with a dim sheen, as if moonlight pooled on them even where the torch did not reach. Her pendant pressed warmth into her skin, steady now, not pulsing so much as waking. “The grove,” she said under her breath. She had heard the name before, always in the same tone, casual on purpose. A hidden place in Richmond Park. Fae-touched. Best avoided unless invited, armed, drunk, or suicidal. The stories never agreed on which. She took one step deeper in and the flowers moved. Aurora froze. Nothing dramatic. No sudden parting. No hand rising from the stems. Just a shiver passing through the blooms from left to right, though no wind touched her face. It rippled on, circled a cluster of foxgloves, then stopped beside a low mound of moss and disappeared. A rabbit, she thought. Then she corrected herself at once. Rabbits did not move in neat arcs. “Who sent the note?” Her voice carried too cleanly. No echo. It landed in the clearing and stayed there. No answer. Aurora advanced with care, boots sinking into soft ground that felt springy beneath the leaf mould. She kept the torch low and listened. Her own breathing. The faint brush of her coat. Somewhere close by, a click, like a fingernail tapped against glass. She swung the beam right. Nothing but trunks and the pale backs of mushrooms climbing one fallen log. A second click, behind her now. Aurora turned. Empty. “Cute.” She reached into her pocket and wrapped her fingers round the small folding knife she carried for parcels on deliveries and for men who mistook politeness for weakness. It would be worthless against anything properly monstrous, but metal in hand beat bare fists and legal regrets. The centre of the grove held a flat stone sunk into the earth, broad as a table and ringed by wild thyme. Someone had left things on it. Not fresh flowers or offerings from a modern witch with a social media habit. Older stuff. A bird skull. A twist of rusted wire. Three acorns black as coal. A strip of faded blue ribbon tied round a twig. Aurora played the torch over them and saw one more object near the far edge of the slab, half hidden by fern. A photograph. She came closer, heart kicking once, hard. The picture had curled with age. Water had blurred one corner. Even so, the face in it was clear enough. A man in his fifties, broad shoulders, dark coat, barrister’s smile scrubbed away by candid surprise. Brendan Carter, her father, caught mid-turn as if he had just heard someone call his name. “No.” Aurora snatched the photograph up. The paper felt dry. Too dry for something left out here. She flipped it over. Blank. The click sounded again, this time from directly beneath the stone. She stepped back so fast her heel skidded in the thyme. The torch beam jumped. Shadows lurched over the standing stones. “Enough,” she said, louder. “You wanted me here, I’m here. Show yourself.” A laugh answered her. It came from nowhere she could place, low and brief, not amused so much as pleased. The hairs on her arms lifted. Aurora turned in a tight circle and caught a movement between two trees, a pale shape passing behind bark too fast and too smooth for any person she knew. It did not rustle leaves. It glided. “Not funny.” The grove remained still. Then, from her left, her own voice said, “Not funny.” Aurora’s mouth went dry. The words had her cadence, her clipped vowels, her tired London polish laid over Cardiff roots. The mimicry was exact, down to the faint annoyance. She held the torch steady by force. “Right. One of those.” Her voice, from somewhere behind the stone, answered, “Right. One of those.” Aurora backed away from the slab. The pendant burned hotter. Warmth spread through the silver chain and prickled at the nape of her neck. She looked down. The Heartstone glowed through her coat, a deep crimson stain under the fabric. A portal nearby. Or opening. Or tear. None of the terms people used for Hel and the places brushing against it sounded safer than the others. Something tapped her shoulder. Aurora spun and slashed with the knife. Steel met only air. The torch beam carved across flowers, stone, bark, and for one split second, a face leaned inches from hers. Not a full face. Enough of one. White skin stretched too smooth over fine bones. One large eye, dark as wet earth. A mouth smiling with closed lips, as if manners mattered. Then it was gone. Aurora stumbled back, breath breaking loose. Her shoulder hit one of the standing stones. The carved surface felt warm. Living warm. “Easy,” said a voice from the trees, and this one was not hers. It sounded feminine, musical if music had learned spite. The accent slid around place and class and landed nowhere human. “You came hunting a key and brought a kitchen knife.” Aurora angled the torch towards the sound. The beam dimmed halfway there, as though the dark thickened and drank it. “You left the note.” “I left a note.” “Then come out.” “No.” A shape detached itself from the trunk of an oak, not stepping forward but unfolding from shadow as if the tree had hidden it in its bark. She was tall, thin, and wrong in the subtle ways that unsettled more than claws ever could. Her limbs bent with too much grace. Her hair hung long and pale, not blond but colourless, like silk soaked in milk. A dark green dress clung to her in layers that seemed woven from leaves, lichen, and funeral cloth. When she tilted her head, Aurora caught the gleam of small pointed teeth between her lips. The woman’s eyes settled on the photograph in Aurora’s hand. “There he is,” she said. “The honest man.” Aurora curled her fingers over the picture. “You know my father?” “Oh, child, lots of things knew your father.” “Don’t call me child.” A smile deepened. “Then stop walking into old places without permission.” Aurora shifted her weight and kept the knife low. “You said you had information.” “I said you could learn who gave you the stone.” The fae woman glided a little nearer. Flowers bent away from her feet. “Not the same thing.” “Close enough. Start talking.” The woman’s gaze dropped to Aurora’s chest, to the red glow under the coat. “That little heart belonged elsewhere. It crossed a boundary wrapped in blood and oath. It should not rest against mortal skin, yet there it lies, beating for you. Curious.” “Who gave it to me?” “Someone who needed a door opened.” The click came again, all around them now, quick and dry, like teeth chattering in a closed mouth. Aurora swept the torch across the grove. Between the trunks, shapes gathered. Low to the ground. Thin. Pale where the light struck, dark when it slid away. Eyes blinked near the roots, too many and too level. The woman watched Aurora notice them. “There,” she said. “You feel it now.” “What are they?” “Hungry things. Not mine. They smell the under-place on your trinket.” Aurora’s grip tightened on the knife. “You invited them.” The woman gave a tiny shrug. “I loosened the hedge. You brought the bait.” One of the shapes darted forward, then stopped just shy of the circle of wildflowers. It stood on two legs for a heartbeat. Its body looked child-sized and hairless, skin grey as ash. The face had no nose to speak of, only slits, and the eyes shone with a damp shine like snail tracks. Its fingers were too long, each tipped with a black nail that clicked on stone. Another emerged. Then a third. Aurora moved sideways, putting the standing stone at her back again. “If this is your version of a conversation, I’m underwhelmed.” The fae woman’s smile returned, sharper now. “You came for truth. Truth costs.” “Invoice me.” “Your father bargained here.” The words landed harder than they should have, because the thing nearest Aurora flinched at the sound of bargained and turned its wet eyes towards the fae. It knew the word. Aurora kept her stare fixed on the woman. “For what?” “For a daughter who would live.” The grove went dead quiet. Even the clicking stopped. Aurora heard only the blood in her ears and, beneath it, a low hum rising from the Heartstone. Not warmth now. Pressure. The pendant pressed so hard against her sternum it hurt. The fae woman leaned in. “He paid in years and law and something sweeter. He thought the account closed. Men like that always do.” “That’s a lie.” “Oh, certainly. Parts of it.” A sound cracked through the grove. Stone on stone. Deep. Final. Aurora looked over her shoulder. The standing stone behind her had split from top to base along one carved seam. Crimson light bled from the gap. Not light exactly. A colour so dense it seemed to pour. The hungry creatures shrank back, hissing through slit mouths. The flowers around the broken stone blackened at once, their petals curling in on themselves. Copper hit Aurora’s nose, not fresh blood, older, mineral, buried deep and dragged up. The Heartstone flared hot enough to burn. She yanked it from under her coat. The crimson gem blazed in her palm, and within it something moved, a thread of darkness twisting like a pupil opening. The fae woman stepped back for the first time. “Well,” she said softly. “There’s your answer.” The split in the stone widened with a grinding groan. From the seam came a long pale hand, jointed wrong, tipped with nails the colour of old ivory, and it hooked round the edge from the other side.
created_at"2026-03-06T12:33:40.348Z" 3/6/2026, 12:33:40 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency472
moderation_latency(null)
generation_time64496
tokens_prompt4560
tokens_completion3185
native_tokens_prompt4064
native_tokens_completion2621
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached3840
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"
usage0.040835
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_07fef498492a1c8e0169aac9a46b808197852b9ea49b814a32"
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-1772800420-fhxD9kdroErrIeFnHzi2"
upstream_id"resp_07fef498492a1c8e0169aac9a46b808197852b9ea49b814a32"
total_cost0.040835
cache_discount0.00864
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
totalTags10
adverbTagCount1
adverbTags
0"she said softly [softly]"
dialogueSentences49
tagDensity0.204
leniency0.408
rawRatio0.1
effectiveRatio0.041
95.15% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2063
totalAiIsmAdverbs2
found
0
adverb"slowly"
count1
1
adverb"softly"
count1
highlights
0"slowly"
1"softly"
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)
75.76% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2063
totalAiIsms10
found
0
word"pulse"
count1
1
word"silence"
count1
2
word"warmth"
count3
3
word"echo"
count1
4
word"lurched"
count1
5
word"unsettled"
count1
6
word"silk"
count1
7
word"weight"
count1
highlights
0"pulse"
1"silence"
2"warmth"
3"echo"
4"lurched"
5"unsettled"
6"silk"
7"weight"
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
narrationSentences202
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences202
filterMatches
0"notice"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences242
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
totalWords2063
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions13
unquotedAttributions0
matches(empty)
33.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions44
wordCount1818
uniqueNames10
maxNameDensity1.54
worstName"Aurora"
maxWindowNameDensity4
worstWindowName"Aurora"
discoveredNames
Carter2
Richmond2
Park2
Heartstone4
Whitechapel1
Holborn1
London2
Aurora28
Cardiff1
Hel1
persons
0"Carter"
1"Heartstone"
2"Aurora"
places
0"Richmond"
1"Park"
2"Whitechapel"
3"London"
4"Cardiff"
globalScore0.73
windowScore0.333
89.52% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences124
glossingSentenceCount3
matches
0"appeared under her flat door above"
1"seemed taller too, their surfaces slick with a dim sheen, as if moonlight pooled on them even where the torch did not reach"
2"seemed woven from leaves, lichen, and funeral cloth"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.969
wordCount2063
matches
0"not stepping forward but unfolding from shadow as if the tree had hidden it in its ba"
1"not blond but colourless, like silk soaked in milk"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences242
matches
0"saved that morning"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs111
mean18.59
std20.59
cv1.108
sampleLengths
014
12
295
35
481
57
610
748
814
971
1011
115
1243
1359
147
1535
1610
172
1846
194
2013
214
2215
232
2443
2518
266
273
281
2946
3067
3122
322
337
3452
351
3621
3711
3821
3912
404
4158
422
4314
444
4525
4611
4712
4840
4926
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences202
matches
0"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs284
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences242
ratio0
matches(empty)
92.77% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount373
adjectiveStacks0
stackExamples(empty)
adverbCount18
adverbRatio0.04825737265415549
lyAdverbCount1
lyAdverbRatio0.002680965147453083
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences242
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences242
mean8.52
std7.01
cv0.823
sampleLengths
014
12
211
320
435
57
68
714
81
94
1015
1116
1245
135
143
154
164
176
1816
192
202
2126
222
239
245
253
2622
2718
2828
2911
302
312
321
334
347
3523
366
373
385
3914
4025
4115
427
4314
446
451
468
476
4810
492
50.00% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.3347107438016529
totalSentences242
uniqueOpeners81
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount10
totalSentences173
matches
0"Just a line in a"
1"Then she had come anyway."
2"Just a shiver passing through"
3"Then she corrected herself at"
4"Somewhere close by, a click,"
5"Too dry for something left"
6"Then, from her left, her"
7"Then it was gone."
8"Then a third."
9"Even the clicking stopped."
ratio0.058
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount39
totalSentences173
matches
0"She tugged free, checked the"
1"She shoved the phone into"
2"It had done that twice"
3"She had spent a full"
4"She stopped at once."
5"Her ears gave a painful"
6"It felt occupied."
7"Her pendant pressed warmth into"
8"she said under her breath"
9"She had heard the name"
10"She took one step deeper"
11"It rippled on, circled a"
12"Her voice carried too cleanly."
13"It landed in the clearing"
14"She kept the torch low"
15"Her own breathing."
16"She swung the beam right."
17"She reached into her pocket"
18"It would be worthless against"
19"She came closer, heart kicking"
ratio0.225
52.49% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount141
totalSentences173
matches
0"Aurora Carter caught her sleeve"
1"The word came out small,"
2"She tugged free, checked the"
3"The map still showed Richmond"
4"Brambles had knitted over the"
5"Roots rose through the soil"
6"She shoved the phone into"
7"The Heartstone answered at once,"
8"It had done that twice"
9"Both times, trouble had followed."
10"That was not true."
11"She had spent a full"
12"Aurora moved on."
13"The torch beam slid across"
14"Oak roots coiled around the"
15"Wildflowers crowded the clearing beyond"
16"The air changed when she"
17"She stopped at once."
18"Her ears gave a painful"
19"The distant hush of the"
ratio0.815
28.90% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences173
matches
0"Even so, the face in"
ratio0.006
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences68
technicalSentenceCount3
matches
0"Aurora advanced with care, boots sinking into soft ground that felt springy beneath the leaf mould."
1"She reached into her pocket and wrapped her fingers round the small folding knife she carried for parcels on deliveries and for men who mistook politeness for w…"
2"Brendan Carter, her father, caught mid-turn as if he had just heard someone call his name."
75.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags10
uselessAdditionCount1
matches
0"she said, louder"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount1
fancyTags
0"she muttered (mutter)"
dialogueSentences49
tagDensity0.163
leniency0.327
rawRatio0.125
effectiveRatio0.041
89.7643%