Run: 2026-03-09-01KK9QHVDX74GM5M1RVZX85RWR

Run Details

Duration:
3m 4s
Cost:
$0.109705
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Thriller genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Quinn vaulted the barrier just as the courier cut between two idling buses. “Police, stop.” He glanced back once, rain glazed across his cheekbones, then drove on, one hand clamped over the parcel under his coat. Camden High Street swallowed him in brake lights, shouting, and the slap of wet trainers on pavement. She had trailed him all the way from The Raven’s Nest, from the hidden room behind the bookshelf where old maps watched from the walls and every face had turned blank the moment she stepped too close. In that back room he had taken a bone-white token from a woman with butcher-red nails, tucked a paper-wrapped parcel inside his jacket, and left by the rear door. He had spotted her by the market stalls. Then he ran. Quinn cut round a pair of tourists and clipped the shoulder of a man carrying takeaway boxes. “Watch it!” She did not break stride. Her leather watch smacked her wrist as she ran. The courier ducked past a shuttered tattoo shop, splashed through a gutter, and shot into a side lane lined with overflowing bins and damp cardboard. He knew where he was going. No wasted movement. No blind panic. He never looked for cover. He looked for distance. Quinn pressed the transmit button at her shoulder. “Control, this is Detective Quinn. Foot pursuit, male, white, early thirties, navy courier jacket, heading east off Camden High Street. I need a unit at my position.” Static crackled, then a tired voice. “You’re not logged on for field tasking, ma’am.” “Log me now.” The line hissed and died. “Useless.” The courier hurdled a stack of crates. Quinn planted a hand on the top one and swung over. A bottle rolled under her shoe. Glass burst against the wall behind her. He snatched a glance back, enough for her to catch his face in fragments, narrow jaw, pinched mouth, one pale scar cut through his eyebrow. Not a junkie runner. Not muscle. A messenger who thought his legs would save him. He burst out into a wider lane by the lock, where market awnings sagged over dark stalls. Rain drummed on canvas and ran in silver threads off their edges. The place smelled of fryer grease, wet brick, and the canal’s black rot. Ahead, he skidded round a corner, shoulder low. Quinn gained on him. “Done running?” He snatched something from his pocket and flung it behind him. It hit a puddle by her feet and flashed green. Not fire. Not smoke. The puddle rose in a skin of light, thin as soap film and sharp as broken glass. Quinn twisted aside. The thing burst against the wall in a spit of sparks. The brick blistered, blackened, and stank of singed hair. Her pace faltered for one stride. No more. The courier vanished through an arch beneath the railway bridge. Quinn followed him into a tunnel of echo and dripping iron. Graffiti crawled across the brickwork. Water fell through a crack overhead and tapped the ground like fingernails. At the far end, beyond a chain-link gate that stood open by inches, she saw him wrench his coat free from the wire. She lunged and caught the back hem. The fabric tore with a dry rip. He slammed backward with an elbow. It glanced off her forearm. Pain sparked up to the shoulder. She drove her own shoulder into his spine. Both of them hit the gate. It shrieked on its hinges. For one beat they stood chest to chest. “Give me the parcel.” “You don’t know what you’re chasing.” “I know you’re under arrest.” He smiled then, thin and ugly. “That word means less down there.” He twisted free, leaving a strip of wet fabric in her fist, and plunged through the gate. Quinn pushed after him and found herself in a service yard sunk behind the street, hemmed in by corrugated fencing and the blind wall of an old station building. A torn Underground roundel still clung to the brick, half hidden by posters for gigs that had come and gone. The courier bounded down a flight of cracked steps and disappeared behind a steel door set into the wall. By the time she reached it, the door had shut. No handle on the outside. No lock she could see. She scanned the frame, the hinges, the damp concrete at her feet. There, by a drain clogged with leaves, lay a small white disc, smooth as polished bone. The token. It must have dropped from his torn coat. Quinn snatched it up. It felt warm, which made no sense at all. One side carried a carved symbol, a circle split by three hooked lines. The same mark had been on the paper packet in the back room at the Raven. She held the token to the place where the courier’s hand had pressed. Something inside the door clicked. The metal eased inward by a finger’s width. Breath, cold and sour as an opened grave, slipped out from the dark. Quinn stared at the black gap. Normal procedure sat elsewhere, up in the city, with radios that worked and backup that arrived and doors that obeyed locks instead of bones. Down here she had none of that. She had a suspect with a parcel, a door that should not open, and eighteen years spent learning that hesitation cost more than bruises. She slid her warrant card back into her inside pocket, drew her torch, and went in. The stairwell dropped steep and narrow, tiled in old cream squares cracked with age and damp. Her torch beam skimmed over flaking advertisements, women in gloves smiling beside products no one made any more, holiday posters to places that had become wars and dust. Water beaded on the ceiling. Somewhere below, a crowd murmured with the low, hungry rhythm of commerce. The sound did not belong in an abandoned station. Quinn took the stairs two at a time and reached a landing where the passage opened wide. The Veil Market filled the dead platform below. Not all at once. Her eye took it in by shocks, by details that refused to fit together. Stalls built from old luggage trolleys and butcher blocks. Glass jars full of pale liquid and darker things suspended inside. Trays of rings, teeth, coins, and folded scraps of skin-coloured paper. A woman in a fox-fur collar haggled over a row of stoppered vials that smoked blue. A broad man in a suit weighed packets of black powder on brass scales while a child beside him counted out finger bones like loose change. Beneath the sour reek of the tunnels drifted other scents, incense, blood, hot sugar, antiseptic, wet wool. No one looked surprised to be there. Several looked at her and went still. Quinn kept moving. A porter’s trolley rattled across the tiles ahead, pushed by a boy with clouded eyes. The courier flashed into view beyond him, navy coat, parcel still tucked in. He cut towards the far end of the platform, deeper into the market. “Out of the way.” She shoved past a stall strung with little glass phials. The vendor hissed at her in a language she did not know. A hand hooked at her sleeve. Quinn turned, and the hand let go at once. The owner had six fingers and a smile full of silver caps. “Badge girls pay double.” “Bill me.” She kept after the courier. Her shoulder knocked a hanging lantern. Grey light rocked over the platform and turned faces strange. On the next row down, under a hand-painted sign that read No Questions, No Names, a man bent over a seated customer and stitched a wound with quick, neat hands. Short curly dark hair. Olive skin. A Saint Christopher medallion glinted against his throat. A scar ran along his left forearm, pale against the damp shine on his skin. Tomás Herrera looked up as Quinn passed. His brows lifted, almost amused. “Detective Quinn. You do pick your venues.” “You know me.” “Professionals read the room.” He knotted the stitch with his teeth and pressed a wad of gauze into the patient’s hand. “Navy jacket. Parcel under the coat. Which way?” Tomás flicked his gaze down the platform. “Fast little rat? Toward the old northbound line.” “Name.” “I sell bandages, not biographies.” “Save the charm. Which exit?” “No exit.” He stripped his gloves off, one finger at a time. “Only levels. He’s running for Platform Four.” Quinn followed his look. Beyond the crowded platform, a narrower stair dropped into a lower section of the station where the lights burned dim and red. “What’s on Four?” Tomás gave her a look she had seen on consultants just before they delivered bad news. “Business you won’t enjoy.” “You’re warning me?” “I’m educating you. Different service.” He leaned closer, voice low. “Keep your badge hidden. Don’t touch the rail. If anyone offers you tea, walk away.” “Helpful.” “You’re bleeding.” She glanced down. The courier’s elbow had split the skin over her knuckles. Rain and tunnel grime had turned the blood thin and pink. “Not enough to matter.” “Everyone says that till the floor tastes it.” Quinn had already moved on. The lower stairs narrowed to a throat of black tile. Noise from the main market faded behind her. The air changed here. Colder. Metallic. The sort of cold that climbed through the soles of her shoes and settled in the teeth. Dead adverts peeled off the walls in strips. Someone had painted symbols over the old station signs, circles cut with hooks and bars, the same mark as the token. At the foot of the stairs, Platform Four spread out under weak lamps set far apart. Only a handful of traders worked here. They kept their goods covered and their heads down. The courier stood near the edge beside a tall figure in a charcoal coat and gloves so black they swallowed the light. The parcel had come out now. He held it in both hands with a care that looked close to reverence. Quinn drew closer along the wall. The buyer said something she could not catch. The courier shook his head. “No, price went up. There’s police in it now.” “Then you were followed.” The voice came soft and dry, like paper rubbed together. Quinn stepped clear. “Hand it over.” Both men turned. The buyer moved first, smooth as silk, and glided back out of the lamp glow. Quinn caught no face, only the flash of a pale throat above the collar. Then the figure was gone behind a pillar. The courier cursed and clutched the parcel to his chest. “Stay where you are.” He laughed once, breathless. “You came all this way for a package.” “I came for you.” “No, detective.” He backed towards the platform edge. “You came for answers. Same as the other one.” Quinn stopped. “The other one?” The smile returned. Meaner now. “Morris. He asked better questions.” Quinn closed the gap in three strides and drove him hard into the tiled wall. The parcel crumpled between them with a muffled crack. He grunted, but the grin held. “You knew him.” He stared at her watch instead of her eyes. “I heard him scream.” Quinn’s fist hit his mouth. Teeth clicked. Blood sheeted across his lip. She caught his wrist before he could swing back and twisted it up between his shoulder blades. “Names.” He spat red on the tiles. “You still think names matter here.” She slammed him again. “Who killed Morris?” He laughed, and that sound chilled more than the tunnel air. Not because it held pleasure. Because it held certainty. Then she felt the parcel move. Not fall. Move. Quinn released one hand from his wrist and snatched at the paper bundle. The wet string came away in her fingers. Inside sat a small black box no larger than a jewellery case, etched with the same hooked circle. Its lid pulsed once beneath her palm. The courier drove his heel down on her instep. Pain jolted her leg. He tore free, seized the box, and hurled it onto the tracks. It landed between the rails with a neat click. Every sound on Platform Four cut off. The traders snatched up their wares. Someone dropped a crate. Glass shattered. From the stairs above, Tomás’s voice cracked across the silence. “Off the platform, now.” The courier did not run. He watched the tunnel and wiped blood from his mouth with the back of his hand. Quinn heard it then, far down in the dark. A low iron hum. The rails began to sing. This station had no power. No live line. No trains. The hum swelled into a scream. Air rushed out of the tunnel, foul and freezing, carrying the stink of old smoke and wet earth and something sweet gone rotten. The lamp nearest the tunnel burst. Darkness punched across the tracks. The courier’s grin widened. “You should have stayed on the street.” A light appeared in the black, one hard white eye, far too high, far too fast, and it was coming straight for them.
created_at"2026-03-09T16:40:43.728Z" 3/9/2026, 4:40:43 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency106348
moderation_latency(null)
generation_time183544
tokens_prompt4663
tokens_completion4972
native_tokens_prompt4132
native_tokens_completion6625
native_tokens_completion_images0
native_tokens_reasoning3872
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"
usage0.109705
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_0bfd4901a12ce2c70169aef80bd1c881939dcd2e233dcc555e"
is_byokfalse
latency211
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-1773074443-94ZMGGbejhXsvqvBRR5X"
upstream_id"resp_0bfd4901a12ce2c70169aef80bd1c881939dcd2e233dcc555e"
total_cost0.109705
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
totalTags3
adverbTagCount0
adverbTags(empty)
dialogueSentences50
tagDensity0.06
leniency0.12
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2185
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)
72.54% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2185
totalAiIsms12
found
0
word"eyebrow"
count1
1
word"echo"
count1
2
word"scanned"
count1
3
word"grave"
count1
4
word"flicked"
count1
5
word"charm"
count1
6
word"silk"
count1
7
word"chilled"
count1
8
word"etched"
count1
9
word"pulsed"
count1
10
word"shattered"
count1
11
word"silence"
count1
highlights
0"eyebrow"
1"echo"
2"scanned"
3"grave"
4"flicked"
5"charm"
6"silk"
7"chilled"
8"etched"
9"pulsed"
10"shattered"
11"silence"
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
narrationSentences200
matches
0"looked surprised"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount1
narrationSentences200
filterMatches
0"watch"
1"look"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences247
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
totalWords2185
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions48
wordCount1935
uniqueNames17
maxNameDensity1.24
worstName"Quinn"
maxWindowNameDensity3
worstWindowName"Quinn"
discoveredNames
High1
Street1
Raven2
Nest1
Underground1
Veil1
Market1
Questions1
Names1
Saint1
Christopher1
Herrera1
Quinn24
Platform2
Four2
Tomás4
Glass3
persons
0"Market"
1"Saint"
2"Christopher"
3"Herrera"
4"Quinn"
5"Four"
6"Tomás"
7"Glass"
places
0"High"
1"Street"
2"Raven"
3"Platform"
globalScore0.88
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences138
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2185
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences247
matches
0"learning that hesitation"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs138
mean15.83
std18.65
cv1.178
sampleLengths
013
12
238
377
417
52
639
721
88
927
106
118
123
135
141
1571
1650
174
182
1911
2010
2144
228
2310
2451
257
267
2736
288
294
306
315
326
336
3417
3568
3610
3710
3828
392
408
4142
4213
435
4421
456
4655
4716
4861
499
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences200
matches
0"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs317
matches
0"was going"
1"was coming"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences247
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1942
adjectiveStacks1
stackExamples
0"Short curly dark hair."
adverbCount42
adverbRatio0.021627188465499485
lyAdverbCount4
lyAdverbRatio0.0020597322348094747
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences247
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences247
mean8.85
std6.44
cv0.729
sampleLengths
013
12
221
317
437
529
68
73
817
92
105
119
1225
136
143
153
165
174
188
1927
206
218
223
235
241
257
2611
276
287
2925
304
312
329
3317
3412
3513
368
374
382
3911
4010
412
422
4317
443
4511
469
476
482
4910
55.47% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.3643724696356275
totalSentences247
uniqueOpeners90
90.09% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences185
matches
0"Then he ran."
1"Somewhere below, a crowd murmured"
2"Only a handful of traders"
3"Then the figure was gone"
4"Then she felt the parcel"
ratio0.027
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount51
totalSentences185
matches
0"He glanced back once, rain"
1"She had trailed him all"
2"He had spotted her by"
3"She did not break stride."
4"Her leather watch smacked her"
5"He knew where he was"
6"He never looked for cover."
7"He looked for distance."
8"He snatched a glance back,"
9"He burst out into a"
10"He snatched something from his"
11"It hit a puddle by"
12"Her pace faltered for one"
13"She lunged and caught the"
14"He slammed backward with an"
15"It glanced off her forearm."
16"She drove her own shoulder"
17"It shrieked on its hinges."
18"He smiled then, thin and"
19"He twisted free, leaving a"
ratio0.276
49.19% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount152
totalSentences185
matches
0"Quinn vaulted the barrier just"
1"He glanced back once, rain"
2"Camden High Street swallowed him"
3"She had trailed him all"
4"He had spotted her by"
5"Quinn cut round a pair"
6"She did not break stride."
7"Her leather watch smacked her"
8"The courier ducked past a"
9"He knew where he was"
10"He never looked for cover."
11"He looked for distance."
12"Quinn pressed the transmit button"
13"Static crackled, then a tired"
14"The line hissed and died."
15"The courier hurdled a stack"
16"Quinn planted a hand on"
17"A bottle rolled under her"
18"Glass burst against the wall"
19"He snatched a glance back,"
ratio0.822
54.05% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences185
matches
0"By the time she reached"
1"Because it held certainty."
ratio0.011
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences78
technicalSentenceCount2
matches
0"At the far end, beyond a chain-link gate that stood open by inches, she saw him wrench his coat free from the wire."
1"On the next row down, under a hand-painted sign that read No Questions, No Names, a man bent over a seated customer and stitched a wound with quick, neat hands."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags3
uselessAdditionCount1
matches
0"He leaned, voice low"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
89.4002%