Run: 2026-03-09-01KK9Q8EHD0KNQ2D2EQM9QF5V6

Run Details

Duration:
2m 33s
Cost:
$0.091010
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 shoved between the two ancient oak stones before common sense could drag her back out again. The Heartstone pendant thudded against her throat, hot enough to sting through her shirt, and the grove swallowed the last scrape of her trainers on the leaf mould. She stopped at once. That, more than the heat, put her on edge. Richmond Park had followed her all the way up the rise, deer somewhere beyond the trees, a distant road, the low hush of London doing what it always did, breathing through brick and wire and glass. The moment she crossed the boundary, all of it cut off. Not faded. Cut. Her torch painted a narrow lane through the dark. Wildflowers crowded the clearing in thick drifts, foxgloves, buttercups, white campion, blooms from three seasons growing shoulder to shoulder as though the year had got drunk and fallen down here. Their scent lay too heavy in the air. Sweet first, then green, then something stale under it, like a vase left a week too long. “All right,” she said. Her voice landed close to her feet. She pulled her phone from her jacket pocket. No signal. No shock there. She had not come here for a stable connection. The lock screen clock read 23:14. It flickered once, then held. Good enough. The pendant pulsed again. Warmth spread over her skin in slow beats, not her heartbeat, something close to it, a second rhythm pressed against her own. That had started three days ago. A faint glow under her collarbone whenever she rode west with a takeaway bag strapped behind her, whenever she passed a churchyard, a tunnel mouth, a shut shop with blacked-out windows. Tonight, after her last Golden Empress delivery, the stone had burned so fiercely she had ditched her scooter near the park gate and followed it on foot. Answers. That was the reason. She had an unknown benefactor, a crimson stone from a place she had never seen, and too many people in London who answered plain questions with stories, warnings, or a smile that meant none of your business. So she had come alone. The grove answered with a delicate clink. Aurora froze. The sound came from deeper in the flowers, thin and neat, spoon on china. One tap. Then another. Not wind. Not branches. She angled the torch towards it. The beam hit stems, petals, a low bank of moss. Nothing moved. “Brilliant,” she muttered. “Tea service in a haunted garden.” She crouched at the nearest standing stone and fished a black hair tie from her wrist. The small crescent scar there caught the torchlight, white against her skin. She looped the hair tie round a knot of bark jutting from the oak surface. A marker. If the grove liked tricks, she could keep count. She rose and set off between the flower beds. Her steps sank without sound. The ground felt springy, then hard, then springy again, a patchwork under the soles of her trainers. Tall stems brushed her jeans. Damp leaves stroked the backs of her hands. Every few paces she glanced down at the pendant. Faint inner glow. Steady pulse. Warmer when she veered left. The air cooled. Not the clean cool of open ground. This had a cellar damp to it. Stone. Old water. Closed places. The clink came again, closer now, and with it a soft breath of steam and tannin. Black tea. Strong. Fresh poured. It hit her so sharply she tasted it on the back of her tongue. Her mother drank tea like that, no sugar, milk barely shown to the cup. Aurora turned in a slow circle. Flowers. Trunks. Dark gaps between trunks. No table. No cup. No one. The wrongness did not rush her. It settled, careful and patient, like fingers adjusting a collar. She kept moving. The grove curved in odd ways. Trees that had looked far off stood near when she reached for them. A stand of silver birch flashed white in the torchlight, then vanished behind a thicker oak trunk that had not been there a second before. She marked the change and filed it away. Panic was wasted fuel. She had learned that much with Evan. Confusion loved fear. It fattened on it. A shape crossed the edge of the beam. Aurora snapped the torch right. Only flowers bowed there, their heads heavy with bloom. Yet the stems still shivered from passage. She waited. Nothing. Her own breath sounded too loud. She drew it in through her nose, slow, and caught another scent threaded through the flowers. Copper. Faint. Not blood, not fresh, older than that. Coins left in a wet palm. The phone screen lit in her hand. 03:02. She stared at it. The numbers held this time. “No.” The word came out flat. She slid the phone away and moved faster. The Heartstone heated against her skin until she had to hook a finger under the chain and pull it from her throat. Crimson light bled between her knuckles. It was not bright enough to light the grove, yet every flower near it folded a fraction, petals turning from the stone. That set her pulse climbing. The codex she had built from scraps, pub whispers, half-lies and one priceless honest warning, had one firm line about the pendant. It warmed near a Hel portal. Not fae roads. Not glamour knots. Hel. The grove gave a small rustle behind her. Aurora stopped at once. A second step landed after hers. Not an echo. An echo would have bounced. This pressed into the ground with weight. She did not whirl. She set the torch under her arm, reached into her pocket, and took out the small folding knife she used to slit open taped cartons at the restaurant. The metal felt mean and domestic in her hand, a kitchen tool dragged into a myth. “Whoever’s there,” she said, “I’m not in the mood.” Silence. Then, from her left, in a voice so soft it almost hid inside the leaves, “Rory.” Eva. Aurora’s grip tightened. She turned so sharply her torch beam skated across trunks and caught a scatter of pale moth wings lifting from a stump. No one stood there. Her jaw set. “Cute.” Another whisper came from behind her right shoulder, deeper this time, clipped and formal. “Aurora.” Her father’s voice. The back of her neck prickled. She moved before the grove could speak again. The flowers thinned ahead, giving way to a wide ring of low grass. In the centre lay a bare patch of earth, round and dark and smooth, the size of a small room. No flowers grew inside it. The whole grove had burst with life, yet this patch sat empty, stripped down to soil the colour of old bruises. The pendant flared in her fist. Heat lanced through her palm. She hissed and almost dropped it. “There you are.” The words steadied her more than they should have. A thing could be dealt with. A place could be mapped. Fear became work once it had edges. She stepped to the ring’s edge and crouched. The ground outside felt cool and damp. Inside the bare circle, the soil held a dry cold, wrong in a way that made her teeth ache. She aimed the torch at it. The beam dulled on contact, swallowed rather than reflected. Fine cracks ran over the surface, too straight for roots, too deliberate for drought. They met in the centre like lines scored on glass. A bell chimed. She looked up. Not a church bell. A service bell. The brisk silver ding from the Golden Empress counter when an order was ready. She had heard that bell so often its note lived in the base of her skull. Now it rang once from the trees, once from farther off, then once directly behind her. Aurora spun. The grove stood empty. Yet the flowers around the bare patch leaned all one way now, not towards the earth, but towards a point a few feet behind her left shoulder. Their stems bent. Petals trembled. Something stood there. Something with weight enough to press their heads aside. Her body knew it before her mind accepted it. Skin tightened. Stomach dropped. Breath shortened. Not alone. She backed away from the ring, knife up, torch beam shaking across a column of pressed stems that advanced one step and stopped. A shape outlined itself in absence, in the bend of plants, in the hush that spread before it. “Don’t,” she said. The whisper came close to her ear this time, warm and intimate. “Laila.” The name froze her harder than Eva’s voice had. Hardly anyone knew that name. Hardly anyone had ever used it. It had belonged to another life, another set of lies, a bolt-hole version of herself built in bad months and worse choices. Her torch flicked. Darkness rushed in, then snapped back. In that blink she saw a figure at the far side of the bare ring. A woman’s shape, slim, black hair at shoulder length, chin lowered. When the light returned full, the far side stood empty. Aurora retreated another step and hit stone. She had not heard the standing stone behind her. It had not been there. Rough oak bark scraped her jacket. She swung the torch up and found one of the boundary stones looming at her back, its face slick with moisture. A vertical seam ran down its centre, thin as a knife cut. No, not in the stone. In the air just before it. A split. A black line that let out no light at all. The Heartstone blazed. Crimson light spilled through her fingers and painted the stone, the flowers, the seam. The scent of wildflowers died at once. Cold ash rolled out instead, dry and bitter. Beneath it came something older, shut away for ages and suddenly awake. The seam widened by a hair. Aurora stepped sideways from the stone, fast now, no care for silence. She needed the boundary marker, the hair tie, the way out. She swept the torch across the grove. Three standing stones ringed her. Then six. Then more beyond them, half-seen, arranged in crooked rows where there had only been one entry point before. The hair tie was nowhere. “No, you don’t,” she said, louder. She snatched a packet of soy sauce from her pocket, left over from a delivery, and hurled it across the grass. The little plastic fish sailed through the beam and vanished into the flowers. No impact. No rustle. Just gone, as though the dark had opened its mouth and swallowed it whole. The service bell rang again. Closer. Answered now by the tick-tick-tick of a spoon on china. The pressed path through the flowers began to circle her. Aurora moved with it, keeping the torch on the bend of stems, knife in her other hand, pendant burning a hole in her palm. Her breathing shortened. She forced it down. Count. Watch. Wait for pattern. There was always a pattern. The path stopped. All the flowers in the grove bowed at once. Not to her. Not to the split in the air. To the bare patch of earth. A crack snapped through the dark soil, sharp as ice breaking. Then another. The lines she had seen in the ground spread out in a spiderweb from the centre. Fine dust puffed up and hung there, glittering red in the Heartstone’s glow. Aurora backed towards the nearest stone. The whisper returned, no longer soft, but layered, many voices caught in one throat. “Open.” The soil sank in the middle. Not far, only an inch, then two, then more, as though something beneath had drawn a first deep breath. The ring of flowers trembled. One foxglove tore free at the root and dropped into the widening hollow. Aurora raised the knife. The earth split. A hand burst up from the crack, pale and slim, fingers blackened to the knuckle with soil that moved like wet ink. It clamped on the rim and pulled. Another hand seized her scarred wrist out of the empty dark at her side.
created_at"2026-03-09T16:35:35.616Z" 3/9/2026, 4:35:35 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency85321
moderation_latency(null)
generation_time153093
tokens_prompt4560
tokens_completion4186
native_tokens_prompt4064
native_tokens_completion5390
native_tokens_completion_images0
native_tokens_reasoning2840
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.09101
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_04b8d62f2e82f1710169aef6d8fb2481938bad7bd56ccfc4fa"
is_byokfalse
latency1507
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-1773074135-juJEmquySPSXLmH43rIi"
upstream_id"resp_04b8d62f2e82f1710169aef6d8fb2481938bad7bd56ccfc4fa"
total_cost0.09101
cache_discount(null)
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
totalTags6
adverbTagCount0
adverbTags(empty)
dialogueSentences13
tagDensity0.462
leniency0.923
rawRatio0
effectiveRatio0
92.58% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2022
totalAiIsmAdverbs3
found
0
adverb"sharply"
count2
1
adverb"suddenly"
count1
highlights
0"sharply"
1"suddenly"
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)
53.02% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2022
totalAiIsms19
found
0
word"flickered"
count1
1
word"pulsed"
count1
2
word"warmth"
count1
3
word"pulse"
count2
4
word"echo"
count2
5
word"weight"
count2
6
word"silence"
count2
7
word"whisper"
count3
8
word"trembled"
count2
9
word"stomach"
count1
10
word"flicked"
count1
11
word"looming"
count1
highlights
0"flickered"
1"pulsed"
2"warmth"
3"pulse"
4"echo"
5"weight"
6"silence"
7"whisper"
8"trembled"
9"stomach"
10"flicked"
11"looming"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"stomach dropped/sank"
count1
highlights
0"Stomach dropped"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences243
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences243
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences250
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen37
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2022
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions29
wordCount1993
uniqueNames10
maxNameDensity0.6
worstName"Aurora"
maxWindowNameDensity1.5
worstWindowName"Aurora"
discoveredNames
Heartstone4
Park1
London2
Golden2
Empress2
Evan1
Hel2
Silence1
Eva2
Aurora12
persons
0"Heartstone"
1"Evan"
2"Eva"
3"Aurora"
places
0"Park"
1"London"
2"Golden"
3"Hel"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences134
glossingSentenceCount1
matches
0"something close to it, a second rhythm pressed a"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.495
wordCount2022
matches
0"not towards the earth, but towards a point a few feet behind her left shoulder"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount3
totalSentences250
matches
0"learned that much"
1"heard that bell"
2"knew that name"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs98
mean20.63
std21.62
cv1.048
sampleLengths
045
14
259
364
44
57
635
790
85
942
107
1120
124
1318
149
1554
1663
173
1819
1949
2012
216
2216
233
2470
258
2621
272
281
2937
307
311
329
331
3413
3550
365
3735
388
394
406
4115
4248
439
441
4516
461
4729
483
491
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences243
matches
0"was wasted"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs297
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences250
ratio0
matches(empty)
98.23% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1999
adjectiveStacks0
stackExamples(empty)
adverbCount84
adverbRatio0.04202101050525263
lyAdverbCount11
lyAdverbRatio0.005502751375687844
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences250
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences250
mean8.09
std6.99
cv0.864
sampleLengths
017
128
24
39
436
511
62
71
89
930
108
1117
124
137
148
152
163
179
186
195
202
214
2222
236
2431
2527
261
274
2837
295
307
312
3214
332
342
352
362
376
3810
392
403
416
4216
4312
4415
452
469
479
485
4917
52.21% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats15
diversityRatio0.3493975903614458
totalSentences249
uniqueOpeners87
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences193
matches
0"Only flowers bowed there, their"
1"Then, from her left, in"
2"Hardly anyone knew that name."
3"Hardly anyone had ever used"
4"Then more beyond them, half-seen,"
5"Just gone, as though the"
ratio0.031
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount53
totalSentences193
matches
0"She stopped at once."
1"Her torch painted a narrow"
2"Their scent lay too heavy"
3"Her voice landed close to"
4"She pulled her phone from"
5"She had not come here"
6"It flickered once, then held."
7"She had an unknown benefactor,"
8"She angled the torch towards"
9"She crouched at the nearest"
10"She looped the hair tie"
11"She rose and set off"
12"Her steps sank without sound."
13"It hit her so sharply"
14"Her mother drank tea like"
15"It settled, careful and patient,"
16"She kept moving."
17"She marked the change and"
18"She had learned that much"
19"It fattened on it."
ratio0.275
79.17% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount147
totalSentences193
matches
0"Aurora shoved between the two"
1"The Heartstone pendant thudded against"
2"She stopped at once."
3"That, more than the heat,"
4"Richmond Park had followed her"
5"The moment she crossed the"
6"Her torch painted a narrow"
7"Wildflowers crowded the clearing in"
8"Their scent lay too heavy"
9"Her voice landed close to"
10"She pulled her phone from"
11"She had not come here"
12"The lock screen clock read"
13"It flickered once, then held."
14"The pendant pulsed again."
15"Warmth spread over her skin"
16"That had started three days"
17"A faint glow under her"
18"Tonight, after her last Golden"
19"That was the reason."
ratio0.762
77.72% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences193
matches
0"If the grove liked tricks,"
1"Now it rang once from"
2"To the bare patch of"
ratio0.016
80.75% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences69
technicalSentenceCount6
matches
0"Wildflowers crowded the clearing in thick drifts, foxgloves, buttercups, white campion, blooms from three seasons growing shoulder to shoulder as though the yea…"
1"She had an unknown benefactor, a crimson stone from a place she had never seen, and too many people in London who answered plain questions with stories, warning…"
2"A stand of silver birch flashed white in the torchlight, then vanished behind a thicker oak trunk that had not been there a second before."
3"Inside the bare circle, the soil held a dry cold, wrong in a way that made her teeth ache."
4"Not far, only an inch, then two, then more, as though something beneath had drawn a first deep breath."
5"A hand burst up from the crack, pale and slim, fingers blackened to the knuckle with soil that moved like wet ink."
41.67% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags6
uselessAdditionCount1
matches
0"she said, louder"
73.08% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount1
fancyTags
0"she muttered (mutter)"
dialogueSentences13
tagDensity0.385
leniency0.769
rawRatio0.2
effectiveRatio0.154
91.6140%