Run: 2026-03-09-01KK9QBDQDB4H7SJW5MX1NNDJD

Run Details

Duration:
2m 1s
Cost:
$0.069985
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Mystery 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="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <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> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</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 mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. 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
“Don’t move him.” Harlow Quinn ducked under the tape and stepped onto the dead platform as two uniforms froze with gloved hands under the man’s shoulders. Dust hung in the beam of their lamps. It coated the old tracks, the cracked cream tiles, the peeled posters for long-closed West End shows. Copper stung her nose at once. Fresh blood. Wrong place for it. The station lay deep beneath Camden, far below the live lines, sealed on every public map and forgotten by anyone who did not work old tunnels or hunt places that did not want finding. A rusted roundel still clung to the wall above the platform bench. Someone had scratched through the station name years ago. Harlow crouched by the body. Male. Mid-thirties. Dark wool coat, decent cut, no frayed cuffs, no grime ground into the knees. His face had gone waxy. A neat red line crossed his throat, but the pooling under him looked thin, too thin, a shallow black gloss on the track bed. “Who called it in?” A constable lifted a hand. “Rail maintenance. They found the access chain cut and rang it through.” “By whom?” “Us, ma’am.” Harlow turned her head. The chain still hung from the service gate at the end of the platform, orange with age except for one bright silver bite where police cutters had sheared it. She looked back at the dead man. “Not him, then.” A voice came from behind her, easy and faintly smug. “Glad you waited for me before solving it.” Detective Sergeant Owen Bell came down the cinder steps with a paper cup in one hand and irritation in the set of his mouth. He was broad in the shoulders, soft round the middle, his tie already pulled loose. He hated old places. Harlow had noticed that about him on the first case they worked together. He disliked what he could not file. “Victim’s ID says Adrian Vale,” Bell said. “Forty-one. Import business, office in Soho. Wedding ring still on. Wallet still in his pocket. Phone smashed. We’ve got urban explorers all over Camden. He gets led down here, mugging goes wrong, throat cut, body dumped. Nasty, but plain.” Harlow held out a gloved hand. Bell passed over the wallet, then the evidence bag with the phone in it. She checked the cash. Still there. Cards untouched. Two restaurant receipts. One parking stub from Hampstead. A folded cream paper slip from the British Museum, stamped Restricted Archives, with a shelf mark written in neat blue ink and the initials E.K. in the corner. Bell saw her pause. “Doesn’t make him less dead.” “No.” She slipped the paper back into the wallet and set the smashed phone beside it. “Who found the body first?” “Maintenance lads, then uniforms. Nobody moved him. Well, apart from those two before you barked at them.” “I told them not to move him.” “You did.” Bell sipped his coffee. The smell of burnt beans soured the air. Harlow leaned lower. Vale’s coat lapel held a grey streak, fine as ash but with a faint pearly sheen under the lamp. His polished shoes had barely any dust on them. That stopped her longer than the throat wound did. Nobody walked half a mile through an abandoned station and kept leather that clean. Not without leaving a path behind. She stood. “Show me the route in.” Bell blinked. “The route?” “The route your muggers used.” Bell exhaled through his nose and gestured towards the service gate. “In through there, down the maintenance shaft, along the east tunnel. It’s a rabbit run, but people get everywhere.” Harlow looked from the gate to the corpse and then across the platform. The dust near the edge sat smooth except for the police prints and the shallow drag under Vale’s left heel. Farther out, the rails were furred with old grime. No scuffs. No heel strikes. No stagger marks. No drop pattern leading to the body. Nothing. She walked to the gate. The dust on the threshold remained thick, unbroken, apart from the fresh churn from uniforms’ boots after the chain came off. Bell followed. “What?” “He did not come through here.” Bell gave a short laugh. “Unless he floated.” “His shoes are clean.” “So he was carried.” “Then where are the carriers’ prints?” Bell opened his mouth, shut it, and glanced down. There were many prints on the platform now, all recent, all police issue. Harlow stepped around them and crouched by the wall beside the gate. A narrow lip of old dust sat under the corroded metal frame. It ran unbroken, a solid grey seam, except where the police cutters had fallen and bounced. “No disturbance,” she said. “No one opened that gate before uniforms did. If they had, this line would break.” Bell tipped his coffee into his mouth and bought time. “Could’ve dropped him from the other side. Pulled him through.” “He’s broader than the gap.” Bell looked at the gate again. He hated when steel and measurement sided with her. A forensic officer in white overalls emerged from the tunnel, lifting his mask. “We’ve bagged the victim’s pockets. One odd bit.” He held up a small evidence pouch. Inside sat a little brass compass with a skin of verdigris around the hinge. Protective sigils ringed the face, delicate and cut deep. The needle twitched, swung east, then shivered hard towards the far wall. Bell snorted. “Camden junk. Tourist tat.” Harlow took the bag. The metal felt cold even through nitrile. “This came from which pocket?” “Inside coat, left breast,” the officer said. “Along with a token.” He passed her a second pouch. A disc of polished bone rested inside. One side bore a stamped crescent crossed by three tiny lines. The other had worn smooth with use. Bell peered in. “Poker chip for goths.” Harlow did not answer. She turned to the corpse and checked the inside breast pocket herself. Fine black grit clung to the lining, not from tube dust, not from brick. It smelled faintly of cloves and something sharper beneath it, like struck stone. Bell saw her face change by a fraction. “You know what it is?” “I know it does not belong to a mugging.” “That’s not an answer.” “It is the one I have.” She crossed the platform. Bell followed because he always followed when she got quiet. That was when she started fitting pieces. The far wall had once held advertisement frames. Most had fallen away. One remained, empty and bent. Under it, the tiles changed. Not much. Enough. The glaze on the older run had yellowed. Ten tiles in the middle kept a cleaner cream, and dust had not settled evenly at their base. The compass needle jerked towards them so hard it struck the glass. Harlow stopped. Bell nearly walked into her. “What now?” She pointed. “See the dust.” “I see a filthy wall in a filthy station.” “Look lower.” He crouched with a sigh that announced the insult done to his knees. His eyes narrowed. At the foot of the wall, dust lay in little crescent ridges, as if something had pushed from the other side and breathed through the join. One print marked the floor nearby. Small. Pointed toe. Not police. Not maintenance. The print began three feet from the wall. There were no steps leading to it and none away. It stood there by itself, pressed clean into the grey. Bell stared at it. “That’s not possible.” Harlow moved her lamp over the tiles. A faint smear crossed the third tile from the left, shoulder height. Blood, but not much. Under it sat a greasy line, black and glimmering. She touched it with a swab. It came away with a strange oily sheen. “Get that tested.” The forensic officer took the swab. Bell rose and rubbed the back of his neck. “Someone staged this. Hidden door, secret rave, occult nonsense, pick one. I’m still saying he met the wrong crowd.” Harlow turned and looked at the body again. Vale’s left hand had clenched tight even in death. She went back, eased the fingers apart one by one, and found a scrap of paper stuck to his palm with drying blood. Not paper. Ticket stock. Thick, black, edged in silver leaf. Bell bent over her shoulder. “What’s that?” She read the impressed lettering under the blood smear. No Admission Without Token. Below it, in smaller type, one line remained clear. The Veil Market. Bell frowned. “Sounds like a nightclub.” “In an abandoned station with no route in?” “Pop-up event. Secret location. People pay for that.” “Do they also vanish through walls?” Bell gave her a flat look. “I prefer doors, Harlow.” She folded the ticket stock into a bag and kept her voice level. “He was invited. He arrived dressed for a meeting, not for a crawl through tunnels. His wallet is full, his ring stays on, his throat is cut elsewhere, and his body appears here with almost no transfer trail. He carried a token, a compass engraved with sigils, and a ticket to a market no one here has heard of. Someone cleaned the scene, but they missed the blood on the wall and the grit in his pocket.” Bell folded his arms. “Or he bought weird junk in Camden, got his throat opened in a car park, and his mates dumped him in the nearest creepy hole.” Harlow pointed at the shallow pool under Vale’s neck. “If he died here, that pool would run larger. If he died elsewhere and they dumped him here, we’d see carry marks or prints. We have neither. The body arrived without crossing the floor.” Bell started to answer, but the forensic officer cut in. “Governor, there’s something else.” He held out another bag. Inside lay a cufflink, silver and black onyx. The back had snapped off. A trace of red painted one edge. Harlow took it and glanced to the wall. The blood smear sat at the same height. “He hit the wall when he came through.” Bell stared at her. “When he came through what?” Harlow walked back to the tiled section and pressed her gloved fingertips to the cleaner cream squares. The tile felt colder than the rest. Not cellar cold. River cold. The kind that bit deep into the nail bed. The compass needle began to spin. “Everyone back,” she said. Bell did not move. “Harlow.” “Back.” Her tone snapped like a rifle crack. The uniforms obeyed at once. The forensic officer scooped up his kit and retreated. Bell lingered, jaw set, then stepped away with a muttered curse. Harlow kept one hand on the wall. Under her palm, something thudded once. Not a pipe. Not settling brick. A solid knock from the other side. Every officer on the platform went still. Bell’s coffee cup slipped from his fingers and hit the floor with a papery splash. Another knock came, sharper this time. Then another. Three in quick succession, a hard rattle that sent dust from the grout lines. “No access route on the plans,” Bell said, voice gone thin. “Plans lie.” The old station speakers crackled overhead. Static burst, died, then a woman’s voice whispered through thirty years of dead wiring. Not station code, not police radio, just one frayed sentence spoken too close to the microphone. “Open the gate.” Bell looked up at the speaker. “We cut power to this place.” The compass glass burst in Harlow’s hand. The needle snapped hard towards the wall and stayed there, quivering. The cleaner cream tiles bulged outward. A line split the grout. Black grit poured through first, then blood, then a human hand slammed out between the tiles, fingers clawing for air.
created_at"2026-03-09T16:37:13.083Z" 3/9/2026, 4:37:13 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency52708
moderation_latency(null)
generation_time120962
tokens_prompt4671
tokens_completion3390
native_tokens_prompt4157
native_tokens_completion4568
native_tokens_completion_images0
native_tokens_reasoning2070
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"
usage0.0699845
router(null)
provider_responses
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endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_07ad869f3410673b0169aef73930708195ae8987dac27d4e4a"
is_byokfalse
latency224
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-1773074233-VogotNLDVOqfVussEM1t"
upstream_id"resp_07ad869f3410673b0169aef73930708195ae8987dac27d4e4a"
total_cost0.0699845
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
totalTags6
adverbTagCount0
adverbTags(empty)
dialogueSentences65
tagDensity0.092
leniency0.185
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1951
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)
97.44% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1951
totalAiIsms1
found
0
word"churn"
count1
highlights
0"churn"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences179
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences179
filterMatches(empty)
hedgeMatches
0"started to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences239
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen77
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1951
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
33.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions71
wordCount1442
uniqueNames19
maxNameDensity2.08
worstName"Bell"
maxWindowNameDensity4
worstWindowName"Bell"
discoveredNames
Quinn1
West1
End1
Camden1
Sergeant1
Owen1
Bell30
Harlow18
Hampstead1
British1
Museum1
Restricted1
Archives1
Vale4
Admission1
Token1
Veil1
Market1
One4
persons
0"Quinn"
1"Sergeant"
2"Owen"
3"Bell"
4"Harlow"
5"Museum"
6"Vale"
7"One"
places
0"West"
1"End"
2"Hampstead"
3"British"
globalScore0.46
windowScore0.333
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences109
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1951
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences239
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs139
mean14.04
std16.56
cv1.18
sampleLengths
03
160
255
350
44
55
612
72
82
94
1029
117
123
1310
148
1563
1646
176
1814
1944
204
215
221
2315
245
2517
267
272
2812
2960
302
315
322
332
345
3511
3619
3758
3826
392
401
416
425
433
444
454
466
479
4853
4919
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences179
matches
0"were furred"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs241
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences239
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1449
adjectiveStacks1
stackExamples
0"lay deep beneath Camden,"
adverbCount38
adverbRatio0.026224982746721876
lyAdverbCount7
lyAdverbRatio0.004830917874396135
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences239
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences239
mean8.16
std7.69
cv0.941
sampleLengths
03
123
28
317
46
52
64
734
812
99
105
111
121
1314
145
1524
164
175
1812
192
202
214
2229
237
243
2510
268
2724
2815
294
3013
317
327
3339
346
3514
364
372
382
393
405
4125
423
434
445
451
4615
475
4817
497
56.35% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats12
diversityRatio0.3682008368200837
totalSentences239
uniqueOpeners88
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences152
matches(empty)
ratio0
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount27
totalSentences152
matches
0"It coated the old tracks,"
1"His face had gone waxy."
2"She looked back at the"
3"He was broad in the"
4"He hated old places."
5"He disliked what he could"
6"She checked the cash."
7"She slipped the paper back"
8"His polished shoes had barely"
9"She walked to the gate."
10"It ran unbroken, a solid"
11"He hated when steel and"
12"He held up a small"
13"He passed her a second"
14"She turned to the corpse"
15"It smelled faintly of cloves"
16"She crossed the platform."
17"He crouched with a sigh"
18"His eyes narrowed."
19"It stood there by itself,"
ratio0.178
71.84% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount118
totalSentences152
matches
0"Harlow Quinn ducked under the"
1"Dust hung in the beam"
2"It coated the old tracks,"
3"Copper stung her nose at"
4"The station lay deep beneath"
5"A rusted roundel still clung"
6"Someone had scratched through the"
7"Harlow crouched by the body."
8"His face had gone waxy."
9"A neat red line crossed"
10"A constable lifted a hand."
11"Harlow turned her head."
12"The chain still hung from"
13"She looked back at the"
14"A voice came from behind"
15"Detective Sergeant Owen Bell came"
16"He was broad in the"
17"He hated old places."
18"Harlow had noticed that about"
19"He disliked what he could"
ratio0.776
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences152
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences50
technicalSentenceCount1
matches
0"The station lay deep beneath Camden, far below the live lines, sealed on every public map and forgotten by anyone who did not work old tunnels or hunt places th…"
41.67% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags6
uselessAdditionCount1
matches
0"Bell said, voice gone thin"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount0
fancyTags(empty)
dialogueSentences65
tagDensity0.077
leniency0.154
rawRatio0
effectiveRatio0
86.4875%