Run: 2026-03-09-01KK9Q29BAWV3034Q5AWMK09K8

Run Details

Duration:
2m 25s
Cost:
$0.082447
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
Quinn hit the barrier with her hip just as the man in the navy coat vaulted it. Her palm brushed wet fabric, lost it, and came away empty. He landed hard on the far side, skidded across black tarmac and drove forward without looking back. Smart. Looking back cost speed. She had followed him from The Raven's Nest, from the green neon glow in Soho to a cab rank, from the cab to Camden, and he had stayed loose and calm the whole way, right up to the moment he spotted her reflection in a shopfront and broke into a run. “Police. Stop.” He cut between two vans. Quinn went after him. Rain glazed the road and turned every headlamp into a blade. Tyres hissed past her knees. A courier swore as she shoved his handlebars aside. Her boots struck puddles, cold water soaking her trouser hems, but her stride stayed even. Eighteen years on the job had taught her the same lesson a hundred ways, panic wasted oxygen. The man knocked a stack of tied bin bags into the road. They burst under a taxi wheel. Rot and stale beer fumed into the air. “Herrera.” No answer. He ran harder. That gave her more than his face had. Tomás Herrera, twenty-nine, former paramedic, struck off after a chain of unauthorised treatments that looked like negligence on paper and something stranger in the witness statements. He moved like a medic in an emergency, head low, elbows tucked, protecting the satchel clamped under one arm. He veered down a service lane beside a tattoo parlour. Light from the shop signs smeared across the brickwork in red and violet strips. Quinn took the inside line and gained a yard. “Tomás.” He glanced over his shoulder then, warm brown eyes wide, curls dark with rain, Saint Christopher flashing against his throat. “Detective, leave it.” “Put the bag down.” “Can’t.” He hurdled a chain strung across the lane. Quinn caught it with her shin, stumbled, swore, then snapped free before the pain could settle. Ahead, he shouldered through a fire door hanging open behind a fried chicken shop. She slammed through it after him and entered a narrow passage that stank of old grease, bleach and damp cardboard. He hit the next door with his shoulder. Locked. For half a beat he stood trapped between brick walls, chest pumping. Quinn closed the gap and drove him into the metal with her forearm across his back. The satchel swung loose. “Hands where I can see them.” “Listen to me.” “Drop it.” “It isn’t what you think.” She hooked the satchel strap with two fingers. He twisted. The move was fast, trained by panic more than skill, but it turned him enough for her to see the pale scar along his left forearm as his sleeve rode up. File photo matched. Her grip tightened. “What’s in the bag?” “Medicine.” “Off a pub bookshelf in Soho?” “For someone who bleeds if she coughs. Pick your charge later.” He stamped on her instep. Sharp pain shot up her leg. Quinn drove an elbow into his ribs. He grunted, sagged, then snapped his head back. Bone cracked against her cheek. White sparks burst at the edge of her vision. He tore free. The satchel split at the buckle as he yanked it. A small glass vial bounced across the floor. Thick silver liquid rolled inside it and gave off its own low light. Quinn froze for one clean, disbelieving second. Tomás saw it too. His face changed. Not guilt. Fear. “Don’t touch that.” He lunged for the vial. Quinn booted it away on instinct. It struck the wall and burst. The smell that rushed out did not belong in any London alley. Sweet rot, hot copper, crushed mint. The air shivered. A string of dead bulbs overhead flickered on in a rapid tick-tock tick-tock, then blew one after another. Tomás stared at the smoking smear on the concrete. “Brilliant,” he said. “Now everyone knows.” “Who’s everyone?” He grabbed the satchel tighter and bolted through a side door Quinn had not seen, half hidden by stacked crates. She threw herself after him and burst out onto a steep lane that dropped towards a row of railway arches. Camden at street level looked bad enough, all wet brick, shuttered kiosks and club posters peeling in strips. Under the arches it changed. Less spill from the road. Fewer witnesses. The rain drummed on corrugated metal and ran in silver ropes from the edge of the viaduct. A butcher’s rear entrance stood ajar, pink wash water curling around the drain. Somewhere a dog barked once, then stopped. Tomás sprinted past a locked antiques shop and cut right towards a fenced stairwell sunk into the pavement. Quinn saw the old Underground roundel first, paint flaked and rusted through, then the iron gate below it. The station name had been scratched off years ago. Two people stood under the arch above the stairs. Neither looked like transport staff. One was tall and raw-boned in a dark coat too fine for the street. The other chewed something and watched the lane with flat interest. A line of figures slipped down the steps one by one. Each paused at the gate, pressed something small into the tall man’s hand, then passed through. Tomás hit the bottom three steps in one stride. “Open.” The tall man held up a palm. “Token.” Tomás dug into his pocket, flashed a pale chip the size of a pound coin, and the gate clicked before Quinn heard any key. She took the stairs three at a time. “Police.” The chewer laughed. “Not down there, darling.” Quinn caught Tomás by the satchel again just as he reached the gate. The strap tore. Contents spilled across the wet steps, bandages, two syringes, a leather roll of instruments, a wrapped packet dark with fresh blood, and a small carved disc that landed against her boot. Bone. Human or animal, she could not tell. Symbols ringed the edge. Tomás saw where her eyes went. “No.” He snatched for it. Quinn stamped on his hand. He hissed through his teeth and the tall man moved at last, one smooth step forward, coat opening enough to show a knife in a ribbed sheath. “Enough,” the tall man said. His voice came soft and dead. “You spill blood on my threshold, you pay for it.” Tomás scooped the bandages and packet back into the satchel. Quinn bent first, closed her fingers round the bone token, and rose with her warrant card in the other hand. “Metropolitan Police. Move away from the gate.” The chewer spat into the rain. “Show that below, see how long you keep the hand it’s in.” Tomás pressed his bleeding hand to his chest and looked at Quinn with open fury. “If you arrest me up here, she dies up here. Decide fast.” “Who?” He barked a laugh with no humour in it. “You haven’t earned names.” The tall man reached for Quinn’s wrist. She trapped his hand, turned it, and drove him into the rail. His knife stayed sheathed, but the impact rang through the stairwell. The chewer lunged. Quinn struck him under the jaw, shoved him back two steps, then drew her baton. “Move.” The tall man smiled through the pain. “She’s got no token.” Quinn opened her fist and showed him the carved disc. That changed the look on all three faces. Tomás went pale. “Detective, don’t be stupid.” The gate behind him stood ajar now, black beyond, old tiled walls swallowing what little light reached the mouth of the stairs. From below came a churn of sound no abandoned station should hold, voices haggling, metal clinking, something animal shrieking once and being silenced at once. A draught climbed the stairwell. It carried spice, ozone, wet stone, candle smoke, and under all of it the same copper reek that had filled the lock-up where DS Morris bled out three years ago with symbols burnt into the floor and every camera dead. Her jaw locked. She heard her partner’s last case file in her head every time anyone in the department said electrical fault. Tonight the air smelled the same. Tomás backed through the gate. “Listen for once in your life. This place eats badges.” “Then you should have picked a better pharmacy.” He stared at her a beat longer, then turned and ran down into the dark. The tall man pushed off the rail and touched the bruise rising on his throat. “Go on then,” he said. “If the bone takes you, it takes you.” Quinn slipped the token into her pocket, shoved the gate wider with her baton and descended. The stairs dropped farther than they should have. Old enamel adverts clung to the walls in ragged strips, cigarettes, gin, a holiday on the coast. Someone had painted over them in symbols and prices. The bulbs along the tunnel gave off a jaundiced glow, but brighter light pulsed below in green, blue and furnace orange. At the bottom, the station opened around her. The Veil Market spread along the abandoned platform and down onto the tracks, a black artery under Camden packed with stalls, cages, crates and bodies. Traders had built counters from old ticket barriers and train seats. Lanterns hung from signal posts. A map of the Underground flickered above a table covered in teeth sorted by size. Glass jars held things that moved against the glass without air. A woman in a velvet coat stirred a brass pan full of liquid gold and sold spoonfuls to men with ruined hands. Two boys haggled over a box of tiny bones that rattled like dice. Further down the track, under a warped station sign, a bookseller had chained shut his own stock. The books still strained against the links. Quinn stopped for one beat because her body stopped without permission. Then sound crashed back in. Voices layered over voices. Cockney, Arabic, Spanish, French, things she could not place. Coins struck wood. Someone laughed too high and too long. The rails hummed under her boots though no train ran there. Tomás moved through the crowd thirty yards ahead, his navy coat easy to track until it vanished behind a stall draped in red cloth and strings of cloudy glass eyes. Quinn forced herself forward. People noticed her. Not all at once. In pieces. A woman selling black wax glanced at Quinn’s face and snuffed her candles with bare fingers. A thin man with tattooed eyelids looked at Quinn’s baton, then at her left wrist, at the worn leather watch half hidden by her cuff, and turned his head to whisper to the girl beside him. She did not glance up. She only smiled at nothing. Quinn passed a butcher’s block laid out with cuts too dark for beef. The vendor chopped through bone with a cleaver that never stuck. “Fresh tonight,” he called. “Lung, liver, luck.” She kept going. Tomás surfaced ahead at an apothecary stall built under an old departures board. Glass stoppered bottles lined the shelves. Powders in folded papers. Dried roots hung in bundles from a bent metal rod. Behind the counter stood an old woman with lacquered black hair and gloves to the elbow. Tomás slapped money down, then the blood-soaked packet. “Need the blue salts. Now.” The old woman did not touch the packet. “That buys half.” “She won’t last half.” “Then she should have stayed above.” Quinn closed the final yards and drew her warrant card. “Step away from the counter.” Tomás shut his eyes for a second. “You had one job,” he said. “Stay ignorant.” The old woman looked at the card, then at Quinn, and tapped a brass bell once with a yellow nail. The note cut through the market. Not loud, but clean. Every voice nearby dipped. Quinn felt the change move outward like a ripple in deep water. Traders straightened. Buyers turned. A child crouched on the tracks looked up with a smile too old for his face. “What was that?” Quinn said. Tomás grabbed the front of her coat and shoved her down behind the counter just as something hissed through the air where her head had been. A thin blade buried itself in the wood of the stall and quivered. The old woman did not flinch. She scooped blue crystals into a twist of paper while the crowd broke apart in a fast, hungry circle. “Outsider,” someone called. “Bluecoat,” said another. Boots hammered on iron stairs at both ends of the platform. The tall doorman from the gate had found help. Four figures in long butcher’s aprons spread through the crowd with hooked poles in their hands. Tomás thrust the packet of salts into his satchel, blood soaking fresh through the canvas. “You can arrest me later.” Quinn ripped the knife from the counter and rose into a wall of turning faces. A hooked pole slammed into the wood where her ribs had been a heartbeat before. Splinters burst across the jars. One shattered at her shoulder and a swarm of bright sparks boiled into the air, alive and biting. “Too late,” the old woman said. Then the platform lights cut out, and something enormous moved on the tracks behind them.
created_at"2026-03-09T16:32:17.391Z" 3/9/2026, 4:32:17 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency69886
moderation_latency(null)
generation_time141284
tokens_prompt4663
tokens_completion4242
native_tokens_prompt4132
native_tokens_completion5403
native_tokens_completion_images0
native_tokens_reasoning2588
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"
usage0.082447
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_03508a673ed05a6c0169aef61182c88197a33d01e741905099"
is_byokfalse
latency256
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-1773073937-yx5LlLvuys4FR1VCHTLg"
upstream_id"resp_03508a673ed05a6c0169aef61182c88197a33d01e741905099"
total_cost0.082447
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
totalTags8
adverbTagCount0
adverbTags(empty)
dialogueSentences51
tagDensity0.157
leniency0.314
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2211
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)
79.65% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2211
totalAiIsms9
found
0
word"pumping"
count1
1
word"flickered"
count2
2
word"churn"
count1
3
word"pulsed"
count1
4
word"velvet"
count1
5
word"whisper"
count1
6
word"quivered"
count1
7
word"shattered"
count1
highlights
0"pumping"
1"flickered"
2"churn"
3"pulsed"
4"velvet"
5"whisper"
6"quivered"
7"shattered"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences193
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences193
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences235
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen51
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2211
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions66
wordCount2013
uniqueNames18
maxNameDensity1.44
worstName"Quinn"
maxWindowNameDensity3
worstWindowName"Quinn"
discoveredNames
Raven1
Nest1
Soho1
Camden3
Herrera1
Saint1
Christopher1
London1
Quinn29
Underground2
Tomás18
Morris1
Veil1
Market1
Arabic1
Spanish1
French1
Boots1
persons
0"Herrera"
1"Saint"
2"Christopher"
3"Quinn"
4"Underground"
5"Tomás"
6"Morris"
7"Boots"
places
0"Raven"
1"Soho"
2"London"
3"Market"
globalScore0.78
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences131
glossingSentenceCount1
matches
0"looked like negligence on paper and somet"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.452
wordCount2211
matches
0"Not loud, but clean"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences235
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs109
mean20.28
std22.33
cv1.101
sampleLengths
028
173
22
366
426
51
65
753
833
91
1020
113
124
131
1458
159
1632
176
183
192
205
2147
224
231
246
2511
2643
2731
287
2910
303
3156
329
336
342
3540
3667
3745
3866
399
401
418
4224
438
441
457
4647
4712
486
491
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences193
matches
0"been scratched"
1"being silenced"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs342
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences235
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2019
adjectiveStacks0
stackExamples(empty)
adverbCount45
adverbRatio0.022288261515601784
lyAdverbCount1
lyAdverbRatio0.0004952947003467063
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences235
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences235
mean9.41
std7.48
cv0.795
sampleLengths
017
111
217
31
44
551
62
75
84
911
105
119
1215
1317
1412
156
168
171
182
193
208
2126
2219
2310
2414
259
261
2720
283
294
301
318
3216
3314
3420
358
361
3712
3816
394
406
413
422
435
448
452
4631
473
483
494
67.09% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats4
diversityRatio0.4127659574468085
totalSentences235
uniqueOpeners97
76.19% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences175
matches
0"Somewhere a dog barked once,"
1"Further down the track, under"
2"Then sound crashed back in."
3"Then the platform lights cut"
ratio0.023
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount38
totalSentences175
matches
0"Her palm brushed wet fabric,"
1"He landed hard on the"
2"She had followed him from"
3"He cut between two vans."
4"Her boots struck puddles, cold"
5"They burst under a taxi"
6"He ran harder."
7"He moved like a medic"
8"He veered down a service"
9"He glanced over his shoulder"
10"He hurdled a chain strung"
11"She slammed through it after"
12"He hit the next door"
13"She hooked the satchel strap"
14"Her grip tightened."
15"He stamped on her instep."
16"He grunted, sagged, then snapped"
17"He tore free."
18"His face changed."
19"He lunged for the vial."
ratio0.217
40.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount147
totalSentences175
matches
0"Quinn hit the barrier with"
1"Her palm brushed wet fabric,"
2"He landed hard on the"
3"She had followed him from"
4"He cut between two vans."
5"Quinn went after him."
6"Rain glazed the road and"
7"Tyres hissed past her knees."
8"A courier swore as she"
9"Her boots struck puddles, cold"
10"The man knocked a stack"
11"They burst under a taxi"
12"He ran harder."
13"That gave her more than"
14"Tomás Herrera, twenty-nine, former paramedic,"
15"He moved like a medic"
16"He veered down a service"
17"Quinn took the inside line"
18"He glanced over his shoulder"
19"He hurdled a chain strung"
ratio0.84
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences175
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences85
technicalSentenceCount4
matches
0"Tomás Herrera, twenty-nine, former paramedic, struck off after a chain of unauthorised treatments that looked like negligence on paper and something stranger in…"
1"Contents spilled across the wet steps, bandages, two syringes, a leather roll of instruments, a wrapped packet dark with fresh blood, and a small carved disc th…"
2"It carried spice, ozone, wet stone, candle smoke, and under all of it the same copper reek that had filled the lock-up where DS Morris bled out three years ago …"
3"Glass jars held things that moved against the glass without air."
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
fancyCount0
fancyTags(empty)
dialogueSentences51
tagDensity0.157
leniency0.314
rawRatio0
effectiveRatio0
90.9866%