Run: 2026-03-09-01KK9QHEB762E4B713Z4RWDQQK

Run Details

Duration:
3m 51s
Cost:
$0.140590
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
Herrera clipped a minicab's wing mirror and shot through the gap. Quinn hauled the wheel after him, horn blaring, wipers thrashing at a windscreen full of brake lights and rain. Ten minutes earlier he had stepped out of the hidden room behind the bookshelf at the back of the Raven's Nest with a flat oilskin parcel tucked under his arm. The green neon above Silas's door had washed his olive face in a sick glow when he spotted her reflected in the bar mirror. He had set down his glass, muttered something under his breath, and bolted before she could leave her stool. Now he leaned low over a black scooter and carved through Soho traffic with the confidence of a courier and the nerves of a man who knew what sat in his bag. "Stop the bike, Herrera." Her words vanished under engines and tyres. He glanced back once. Warm brown eyes. Rain streaming off his lashes. Then he cut left between a bus and a van that had no business sharing the same lane. Quinn followed. Her tyres slapped through a flooded gutter. The rear of the van fishtailed. She corrected, clipped the kerb, and steadied the car with the same cold precision that had got her through eighteen years of kicks, knives and men with more bravado than aim. Herrera took Wardour Street north, skipped a red light, and skimmed past a knot of smokers outside a club. One of them hurled a curse after him. Neon broke across the road in pinks and greens, all of it smeared and trembling in the wet. Quinn kept him centred between the arcs of her wipers and resisted the urge to call it in. Control would ask what she had, and she had no answer fit for a recording. A medic stripped of his licence. A parcel from a hidden room. A bar in Soho where nobody ever used surnames and everybody paid cash. Not enough for a warrant. More than enough for instinct. Herrera shot past Oxford Street and into thicker traffic. Quinn mounted the kerb, bounced hard enough to jar her shoulder, then dropped back onto the road behind him. Her left wrist knocked the steering wheel, the worn leather strap of her watch scraping against it. She barely felt it. He knew she stayed with him. He stopped looking back. That changed the rhythm. No panic now. Purpose. Camden, Quinn thought. He cut north. She smiled without warmth. "You're not outrunning me, Tommy." He heard the engine behind him. He tucked in and pushed the scooter harder. By the time Camden High Street rose ahead, the city had thinned into shuttered stalls, takeaway smoke and foot traffic that drifted where it pleased. Railway arches loomed black above a run of tattoo shops, late cafés and souvenir dens with fluorescent signs buzzing in the rain. Herrera mounted the pavement, slalomed past a couple under one umbrella, and ditched the scooter outside a boarded music shop. Quinn braked so hard the car slewed sideways. She was out before the engine settled, door flung wide, shoulder holster heavy under her coat. Herrera hit the pavement running. The parcel stayed tight against his ribs. "Police. Stop." He sprinted across the road, splashed through a gutter, and vanished into the mouth of a lane packed with market rubbish, stacked crates and dripping tarpaulins. Quinn chased him in. Water slapped off the awnings. Rotting fruit and wet cardboard stung the air. Somewhere under it sat the sharp clean note of alcohol, hospital grade, leaking from the parcel or from memory. With Herrera, those scents mixed too easily. He knocked over a bin to slow her. She hurdled it and closed the gap. "Tomás." "Go back, Detective." His accent thickened when he ran. The words came quick and warm, breath pushed hard through them. "I don't take advice from suspects." "Then take a warning." He hooked right, shoulder-first, through a narrow cut between two shuttered units. Quinn followed. The gap scraped brick against her coat sleeve. On the far side the lane opened under a railway bridge. Water dripped from the ironwork overhead in steady beats. Light from the road reached only halfway in. Herrera slipped on the painted line, recovered, and Quinn pounced. She caught his left forearm, fingers clamping over the old scar that ran pale along his skin. He hissed, twisted, and slammed the parcel into her chest. Air left her lungs in a grunt. She held on. His Saint Christopher medallion flashed once at his throat, bright against wet skin, before he drove his shoulder into her and pinned her against corrugated metal. "Listen to me." "Drop it." "You do not want this scene." "I'll decide that." He tore free. Something snapped under her hand. A cord. Quinn stumbled back with a small hard disc tangled in her fingers while Herrera vaulted a chain barrier and sprinted deeper under the bridge. She looked at the thing in her palm for half a heartbeat. Bone. Round, smooth with wear, carved with a spiral and a row of tiny teeth along the edge. Not jewellery. Not a coin from any mint she knew. Herrera was already fifty feet ahead. Quinn shoved the token into her pocket and ran. The lane spilled into a service yard behind the market. Metal shutters lined one side. The other ended in a brick retaining wall furred with old posters, layers of bands, elections and missing dogs peeled into a papier-mâché skin. Herrera did not slow. He headed straight for a steel door set into the wall beneath a cracked Underground roundel. The station name had been chiselled off years ago. Ghost letters still clung to the tile. A man stood beside the door under a hooded lamp. Tall, narrow, coat buttoned to the throat. His face looked all angles until he turned and the light caught eyes too pale for the rest of him. Herrera pulled up, said something low, and reached inside his coat. "Token." The doorkeeper's voice came out dry, like paper dragged over stone. Herrera handed something over. The man pressed it to the lamp, nodded once, and cracked the door. Quinn hit the yard at speed. "Herrera." Tomás looked back over his shoulder, chest rising and falling. For the first time since Soho he showed plain alarm. "Do not come down here." Quinn saw the door open onto tiled stairs and black below them, not empty black, but movement, colour, lantern glow, a churn of voices where no voices belonged. An abandoned station should have held silence and rats. This place breathed. Herrera vanished through the gap. The door swung towards closed. Quinn lunged and caught it with her palm. The pale-eyed man did not flinch. Up close he smelled of clove smoke and damp wool. "Token." She brought out the bone disc. His gaze dropped to it, then rose to her face, to the set of her mouth, to the wet lapel of her coat. He saw too much. His nostrils widened once. "Fresh hand on that one." "You opening the door or writing poetry?" One corner of his mouth twitched. Not amusement. Assessment. "Markets don't like law." "Markets don't get a vote." He took the token, rubbed his thumb over the carving, and handed it back. "Keep your bargains short." Quinn slipped past him before he could add another word. The stairs fell steep under her boots. White tiles climbed the walls in cracked rows stained with soot and age. Old posters blistered behind glass, half-rotted adverts for films nobody remembered. The deeper she went, the warmer the air grew. It carried spice, paraffin, sewage, incense, frying fat, ozone. Voices swelled, dozens of them, haggling, laughing, snapping shut. Then the stairs opened, and the station floor dropped away beneath her into the Veil Market. Stalls crowded the old ticket hall and spilled down both platforms. Canvas awnings hung from rusted beams. Lanterns burned green, gold and a bruised blue that lit faces from below and made every expression look guilty. Traders had built counters from packing crates, old station benches, even a broken ticket barrier laid on its side. Amber bottles glowed on one table beside bundles of dried herbs tied with red thread. Another stall displayed rings, lockets and little carved charms set out on black velvet, each piece catching the light with a faint pulse of its own. A woman in a butcher's apron ladled silver liquid into stoppered vials while a line of customers waited with the taut patience of addicts at a chemist's shutter. Quinn slowed for one step. No more. A child with milky eyes sold folded scraps of paper from a biscuit tin. A man with tattooed eyelids weighed something that wriggled inside a birdcage. Two women argued over a bottle full of moving smoke. No film set. No immersive nonsense. The smell of old blood under hot metal told her that at once. Herrera cut through the hall below, weaving between buyers who wore hoods, suits, leathers, hospital scrubs. He never looked right or left. He knew his route. The oilskin parcel stayed locked to his side. Quinn went after him. Heads turned. Conversation snagged and resumed in clipped bursts. She passed a stall where glass jars held things that floated against the lids as she neared. She passed a board scrawled with names and prices, information sold in three columns, debts in the fourth. A railway map hung above it, but the lines did not match London. A hand shot out from the dark and caught her sleeve. "First time costs double." Quinn jerked free. A thin woman sat behind a low table stacked with teeth, all shapes, all sizes, polished and tagged. "Not shopping." "You are now." Quinn kept moving. She hit the top of the nearest platform steps and scanned. Herrera, forty yards ahead, cutting along Platform Two. Beyond him an old train sat dead on the track, its windows painted black from within. More stalls packed the platform edge. A red lamp swung over an apothecary counter where blue flames licked under a brass pan. Tomás headed there. Quinn took the steps two at a time. A porter broad as a wardrobe blocked her path at the bottom, flat cap low, hands like spades. "Slow." She showed him enough of her warrant card to make her point and not enough to lose it. "Move." His gaze fixed on the crest. His mouth hardened. "Herrera!" Tomás stopped at the apothecary stall and turned. Distance pulled nothing from his face now. No calm. No patience. He looked trapped between two disasters. "Detective, leave." "I've heard that." "Then hear this. If you wave that bit of leather again, half this room bites." Quinn closed the gap to ten yards. "Set the parcel down." "It keeps a girl breathing." "Name." "You don't know her." "Then start educating me." The apothecary, an old man with spectacles chained to one ear, stared at Quinn over the rims. "Payment first." Tomás did not take his eyes off Quinn. "Later." "No later for grave-salt." "Put it on my mark." "Your mark is cracked." "Join the choir." Quinn angled right to cut off the platform exit. "You lost your licence for work like this." Tomás gave a short, humourless sound. "I lost my licence because a board of men preferred paperwork to pulse." "That line plays better when you don't run from police." "I ran from you bringing the wrong people here." His gaze flicked to her hand. Quinn followed it and realised, too late, that her warrant card still showed between her fingers. The porter behind her drew in a breath through his nose. "Law," he said. The word carried. A few nearby heads turned. Then more. The child with the biscuit tin froze. The woman with the silver ladle stopped pouring. Buyers edged back from Quinn in a widening crescent, not with fear, but with the quick economy of people making room for violence. Tomás shut his eyes once. "Madre de Dios." Quinn snapped the card back into her pocket and reached for her radio instead. Static cracked. Dead. No signal under this much ground. The old apothecary lifted one yellowed finger and rang a brass bell beside his scales. The note cut through the station. High. Sharp. Final. Everything stopped. Not most things. Everything. Lantern light swayed. A bottle shattered somewhere up in the hall. On the far platform, shutters slammed over three stalls in a rapid bang-bang-bang. The porter in the flat cap shrugged out of his coat and a hooked blade hung from a harness under his arm. The thin woman from the teeth table smiled from the steps above, all gums and patience. Tomás snatched the parcel off the counter and lunged towards Quinn. "Down." She moved on instinct. Good instinct. Old instinct. She dropped as his hand hit her shoulder. The first bolt punched through the sign above her head, and the cage beside the apothecary burst open with a scream that did not belong to any bird.
created_at"2026-03-09T16:40:30.333Z" 3/9/2026, 4:40:30 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency156869
moderation_latency(null)
generation_time230409
tokens_prompt4663
tokens_completion4994
native_tokens_prompt4132
native_tokens_completion8684
native_tokens_completion_images0
native_tokens_reasoning5918
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"
usage0.14059
router(null)
provider_responses
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endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_06e9e06664d3d2690169aef7fe6fb88196951f2104b213a626"
is_byokfalse
latency193
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-1773074430-SlDNK34UuK0r4ooe08uX"
upstream_id"resp_06e9e06664d3d2690169aef7fe6fb88196951f2104b213a626"
total_cost0.14059
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
totalTags1
adverbTagCount0
adverbTags(empty)
dialogueSentences47
tagDensity0.021
leniency0.043
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2178
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)
72.45% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2178
totalAiIsms12
found
0
word"streaming"
count1
1
word"warmth"
count1
2
word"loomed"
count1
3
word"churn"
count1
4
word"silence"
count1
5
word"velvet"
count1
6
word"pulse"
count2
7
word"scanned"
count1
8
word"grave"
count1
9
word"flicked"
count1
10
word"shattered"
count1
highlights
0"streaming"
1"warmth"
2"loomed"
3"churn"
4"silence"
5"velvet"
6"pulse"
7"scanned"
8"grave"
9"flicked"
10"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
emotionTells1
narrationSentences204
matches
0"t with fear"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount0
narrationSentences204
filterMatches
0"watch"
1"look"
hedgeMatches(empty)
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
maxSentenceWordsSeen32
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2178
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions1
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions74
wordCount1992
uniqueNames20
maxNameDensity1.41
worstName"Quinn"
maxWindowNameDensity3.5
worstWindowName"Quinn"
discoveredNames
Raven1
Nest1
Silas1
Soho3
Wardour1
Street3
Oxford1
Quinn28
Camden2
High2
Herrera15
Saint1
Christopher1
Underground1
Veil1
Market1
London1
Platform1
Two2
Tomás7
persons
0"Raven"
1"Silas"
2"Quinn"
3"Herrera"
4"Saint"
5"Christopher"
6"Platform"
7"Two"
8"Tomás"
places
0"Soho"
1"Wardour"
2"Street"
3"Oxford"
4"Camden"
5"High"
6"Veil"
7"London"
globalScore0.797
windowScore0.5
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences140
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.918
wordCount2178
matches
0"not empty black, but movement, colour, lantern glow, a churn of voices"
1"not with fear, but with the quick economy of people making room for violence"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences250
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs134
mean16.25
std19.95
cv1.227
sampleLengths
030
173
232
34
47
576
663
715
825
910
1049
1118
123
137
145
1514
1667
178
1828
192
2069
2115
221
233
2417
256
264
2750
2810
2963
303
312
326
333
3434
3512
361
3727
386
399
4059
4116
4248
431
4411
4517
466
471
4820
495
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences204
matches
0"been chiselled"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs337
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences250
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1998
adjectiveStacks0
stackExamples(empty)
adverbCount40
adverbRatio0.02002002002002002
lyAdverbCount3
lyAdverbRatio0.0015015015015015015
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
mean8.71
std6.86
cv0.787
sampleLengths
011
119
230
324
419
532
64
77
84
93
105
1118
122
137
146
1531
1619
178
1818
1918
2015
216
226
2313
245
255
269
2719
2817
294
306
314
324
333
341
353
363
374
385
396
408
4125
4222
4320
448
4516
465
477
482
4926
55.60% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats16
diversityRatio0.372
totalSentences250
uniqueOpeners93
73.66% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences181
matches
0"Then he cut left between"
1"More than enough for instinct."
2"Somewhere under it sat the"
3"Then the stairs opened, and"
ratio0.022
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount45
totalSentences181
matches
0"He had set down his"
1"Her words vanished under engines"
2"He glanced back once."
3"Her tyres slapped through a"
4"She corrected, clipped the kerb,"
5"Her left wrist knocked the"
6"She barely felt it."
7"He knew she stayed with"
8"He stopped looking back."
9"He cut north."
10"She smiled without warmth."
11"He heard the engine behind"
12"He tucked in and pushed"
13"She was out before the"
14"He sprinted across the road,"
15"He knocked over a bin"
16"She hurdled it and closed"
17"His accent thickened when he"
18"He hooked right, shoulder-first, through"
19"She caught his left forearm,"
ratio0.249
53.92% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount147
totalSentences181
matches
0"Herrera clipped a minicab's wing"
1"Quinn hauled the wheel after"
2"The green neon above Silas's"
3"He had set down his"
4"Her words vanished under engines"
5"He glanced back once."
6"Her tyres slapped through a"
7"The rear of the van"
8"She corrected, clipped the kerb,"
9"Herrera took Wardour Street north,"
10"Neon broke across the road"
11"Quinn kept him centred between"
12"Control would ask what she"
13"A medic stripped of his"
14"A parcel from a hidden"
15"A bar in Soho where"
16"Herrera shot past Oxford Street"
17"Quinn mounted the kerb, bounced"
18"Her left wrist knocked the"
19"She barely felt it."
ratio0.812
55.25% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences181
matches
0"Now he leaned low over"
1"By the time Camden High"
ratio0.011
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences81
technicalSentenceCount4
matches
0"Now he leaned low over a black scooter and carved through Soho traffic with the confidence of a courier and the nerves of a man who knew what sat in his bag."
1"She corrected, clipped the kerb, and steadied the car with the same cold precision that had got her through eighteen years of kicks, knives and men with more br…"
2"By the time Camden High Street rose ahead, the city had thinned into shuttered stalls, takeaway smoke and foot traffic that drifted where it pleased."
3"Herrera cut through the hall below, weaving between buyers who wore hoods, suits, leathers, hospital scrubs."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount0
fancyTags(empty)
dialogueSentences47
tagDensity0.021
leniency0.043
rawRatio0
effectiveRatio0
92.0296%