Run: 2026-03-09-01KK9QQ8MZ271V7KPJCR8ZH52X

Run Details

Duration:
2m 42s
Cost:
$0.107200
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 ducked under a swinging pub sign and sent two drinkers sprawling. Quinn drove through the gap before it closed. The bone token flashed once in his hand, pale as a knuckle in the green neon spill from the alley behind the Raven's Nest, then vanished in his fist. Rain slicked the pavement and turned Soho into glass. Her shoes hit stone, skidded, caught. She kept moving. Eighteen years on the job had trained the rhythm into her body, lungs steady, stride clean, eyes fixed on the point between a suspect’s shoulders. “Police, Herrera.” He did not waste breath on surprise. He cut left, hurdled a heap of bin bags and crashed through a service gate into the next lane. His black medical case knocked against his leg. The Saint Christopher medallion at his throat flashed when he glanced back. Warm brown eyes, sharp with calculation. Short curly hair plastered to his head. He looked less like an outlaw than a man late for a shift, if you ignored the blood on his cuff. Quinn hit the gate a second later. Metal slammed the brick. She shoved through and saw him burst onto the main road, dodging cabs and a cyclist who screamed abuse into his wake. She reached for her radio, stopped, and left it clipped to her coat. Uniforms would only clutter the road, and if Herrera reached whoever had supplied him that token, she wanted the hand, not the finger. He cut north. Good. She had a car half a street over. Bad. He knew she knew that. He vaulted a low barrier, splashed through a flooded kerb and shot into the market crowd. Camden swallowed him by instinct, under lit shopfronts and hand-painted signs, past shuttered stalls, fried onion smoke, and wet denim, all of it blurred by motion and reflected in black water underfoot. Quinn drove her shoulder between a pair of tourists and kept him in sight by the hard bounce of that medical case. “Tomás.” He looked back again. “Turn around. Put the case down.” “You picked the wrong night, Detective.” His voice carried even at a run, low and warm, a note of Seville still lodged in the vowels. He clipped a crate with his knee and sent it spinning into her path. Lemons burst across the pavement. Quinn stamped one flat and powered over the rest. “You’ve got blood on you.” “Not mine.” “That doesn’t help.” “Usually it does.” A scooter shot past. Quinn swore and checked her pace before the rear wheel clipped her shin. Herrera used the beat to gain six yards. He cut into a lane between a tattoo studio and a shop front full of antique radios. Water streamed down the corrugated awnings and hammered the concrete with a tinny drumroll. The alley narrowed, bent, then spat them out by the canal. The city changed there. Traffic noise dulled behind old brick. The towpath ran dark and slick beside black water that smelt of oil, algae, and old pennies. Narrowboats knocked hulls with a hollow clack. A fox darted from under a bench with something pink and stringy in its mouth. Herrera took the steps two at a time. Quinn followed with a hand near her holster. He knew the route. That bothered her more than the blood. Men on the run zigzagged. Herrera moved with purpose. Through a lock gate, past moored barges, under the low bridge where graffiti crawled over soot-black stone in bright, lunatic swirls. He ducked once. She heard the crack a split second later as a bottle smashed on the wall behind her shoulder. A voice laughed from the dark under the bridge. “Run, doctor.” Quinn snapped her gaze towards the sound. A shape peeled off the brick then vanished into deeper shadow. Wrong move. Herrera gained another stretch of towpath. The file in her coat pocket thumped against her ribs with each stride. Tomás Herrera, twenty-nine, former paramedic, licence revoked, suspected associate of a clique who met in hidden rooms and left bodies with wounds that made no anatomical sense. She had spent two weeks pulling at threads around the Raven’s Nest. Tonight one had finally come loose. She had watched Herrera enter Silas’ bar empty-handed. He had left by the back with a token carved from bone and a case that dripped red from one corner. Not a man she could let slip. “Tomás, listen to me.” He barked out a breath that could have passed for a laugh. “You only say my first name when you want something.” “I want you in cuffs.” “There, that sounds more like you.” He sprang from the towpath to a stairwell cut into the embankment. Quinn went after him, calves burning now, coat heavy with water. At the top, the road opened wide. Buses hissed past. A market trader hauled down a metal shutter with a thunderous rattle. A man under an awning stared over his cigarette, saw Quinn’s face, and stepped clear. Herrera darted between two vans and bolted across the street. A horn blared. Tyres screamed. Quinn lunged after him, palm flat on a bonnet for balance as a cab skidded to a stop inches from her hip. The driver leaned out and cursed. She flashed her warrant card without slowing. He responded with fresh profanity. London remained itself. On the far side of the road Herrera faltered. Only half a step, but Quinn saw it. He favoured his right side. The case had weight. Significant. Medical equipment or something alive. She pushed harder. He cut through a covered passage behind a butcher’s shop. Sawdust clung to wet stone. The metallic stink of fresh blood sat thick in the air. Hooks swung behind the shop window, each one bare and clean. Quinn’s hand tightened on her baton. At the end of the passage a steel door stood set into the wall, half hidden by posters and grime. The sign above it had peeled down to two words, ALDWYCH NORTH, though no station in service had borne that name for years. Herrera skidded to the door, dragged the bone token from his pocket, and pressed it to the old lock plate. The bolt clacked back. Quinn slowed for the first time. The sound had not come from the lock. It had come from deeper in the wall, a chain of hidden catches waking in sequence, one after the other, as if the station had taken a breath after a long sleep. Herrera looked over his shoulder. Rain ran down his face. Blood streaked one sleeve to the wrist and soaked into the old scar along his left forearm. “Don’t.” Quinn drew her pistol. “Open it fully and step away.” “Not for you.” He hauled the door. Rust screamed. A flight of tiled steps dropped into dark. Not full dark. A pulse of coloured light moved below, red to blue to gold, as if a fairground had gone rotten underground. Quinn closed the gap. Herrera backed down one step, then another, holding the case to his chest. “Who are you delivering to?” “No one you can arrest.” “That answer’s getting old.” “It keeps fitting.” She reached the threshold and the air changed. Damp stone, paraffin smoke, something sweet and foul under both, like lilies left too long in a chapel. Voices rose from below, dozens at least, bartering, laughing, hissing for silence, metal clinking on wood. A train station should have carried the echo of trains. This place carried the murmur of appetite. Quinn kept the pistol on him. “You walk back up.” “If I do, we both die on the pavement.” “Who’s ‘we’?” Herrera’s jaw set. He glanced past her shoulder, not towards escape but towards the street, as if danger already hunted their scent. “Detective, hear me for once. The man from the bridge wasn’t alone.” Footsteps slapped the passage behind her. Quinn pivoted. Three men blocked the mouth of the butcher’s passage. No umbrellas. No hurry. One of them held the neck of a broken bottle. Another rolled a length of chain through his palm. The third, broad and still, kept his hands in his coat pockets and watched her with the flat patience of a man certain the room belonged to him. “Found them,” said the one with the bottle. Herrera swore in Spanish, fast and low. Quinn’s pistol snapped towards the three men. “Police. Hands where I can see them.” The broad man smiled without warmth. “Not our jurisdiction.” He stepped forward. Quinn fired once into the wall beside his head. Tile burst. The report smashed through the passage and came back louder. Brick dust drifted. The three men flinched, then spread. Herrera grabbed her wrist. “Now you’ve done it.” She tore free and nearly struck him with the gun. “Move.” He did, down. Quinn retreated onto the stairs, pistol levelled at the men above. The broad one stopped at the threshold. His eyes dropped to the bone token still in Herrera’s hand, then past Quinn into the stairwell below. He chose caution over speed. Interesting. Whatever sat under Camden, even he respected it. That bought her two seconds. She used them. She backed down another six steps, then another, never taking her eyes off the entrance until the angle of the tunnel cut the men from view. The city vanished behind brick. Sound shifted. Water dripped somewhere far down the line. Old posters peeled from the tiled walls, advertising cigarettes no one smoked and a West End show closed before Quinn had been born. Fresh symbols had been painted over them in chalk and ash, circles, hooks, and little crowns that turned her stomach for reasons she could not name. Herrera kept moving below her. Fast despite the limp. “Stop there.” He stopped three landings down, chest heaving. The medallion rose and fell against his throat. “You should go back.” “You first.” “You don’t know this place.” “That makes two of us.” “No.” A hard smile touched his mouth. “Not two.” The stairs ended at a ticket hall that should have sat dead and dust-choked under the city. Instead it pulsed with life. Lanterns hung from cracked signs. Tarps stretched between pillars. Stalls packed the old concourse shoulder to shoulder, their wares spread over velvet, rusted metal, lacquered wood, and stained glass. Jars of teeth. Bundles of herbs black as soot. Bottles that held pale things which tapped at the glass from inside. A woman in a fox-fur coat sold rings from a cutlery tray. A boy no older than fourteen balanced a tray of watch parts that still ticked though none had hands. Somewhere deeper in the warren, a caged creature shrieked and set half the room laughing. The Veil Market. The name surfaced from interviews, drunks, whispers, and one terrified sex worker who had crossed herself three times before she spoke it. Quinn had never believed the stories whole. She believed them now with every sense she owned. No one looked shocked to see a man run in bleeding. A pair of guards stood by the old ticket barrier. Tall, expressionless, dressed in dark coats too fine for hired muscle. Bone tokens hung on chains at their belts. Their gaze landed on Herrera, then shifted to Quinn, her wet overcoat, the gun in her hand, the warrant card clipped inside the lapel. Herrera held up his token. One guard nodded at him, then at Quinn. “Token.” Quinn kept the pistol raised. “I’m police.” The guard’s face did not move. “Token.” Behind her, from high on the stairs, came the clatter of boots on tile. Herrera turned half away, ready to vanish into the crowd. “If you stay on the stairs, they cut you down. If you come in, they still might.” “You sell a hard invitation.” “I’m not selling. I’m warning.” One of the market guards lifted a short iron bell from the barrier and rang it once. The note knifed through the hall. Conversation broke in ragged strips. Heads turned. Too many heads. Human faces, mostly. Not all. Lantern light caught teeth filed to points, eyes with no whites, hands jointed the wrong way around a pack of cards. Quinn saw a pale disc on the stair below Herrera’s shoe, another bone token, dropped in the flight. She moved before thought could slow her, snatched it up, and stepped past the barrier. Every sound in the market cut dead. At the far end of the concourse a shutter crashed open, and armed men poured through.
created_at"2026-03-09T16:43:41.101Z" 3/9/2026, 4:43:41 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency89183
moderation_latency(null)
generation_time161699
tokens_prompt4663
tokens_completion3348
native_tokens_prompt4132
native_tokens_completion6458
native_tokens_completion_images0
native_tokens_reasoning3803
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"
usage0.1072
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_09229d634bd56e560169aef8bd31208196a2f5518f86bdbe5a"
is_byokfalse
latency197
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-1773074621-yAky91eplg1fIwQTl5UD"
upstream_id"resp_09229d634bd56e560169aef8bd31208196a2f5518f86bdbe5a"
total_cost0.1072
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
totalTags2
adverbTagCount0
adverbTags(empty)
dialogueSentences42
tagDensity0.048
leniency0.095
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2081
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)
78.38% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2081
totalAiIsms9
found
0
word"weight"
count1
1
word"pulse"
count1
2
word"silence"
count1
3
word"echo"
count1
4
word"footsteps"
count1
5
word"warmth"
count1
6
word"stomach"
count1
7
word"pulsed"
count1
8
word"velvet"
count1
highlights
0"weight"
1"pulse"
2"silence"
3"echo"
4"footsteps"
5"warmth"
6"stomach"
7"pulsed"
8"velvet"
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
narrationSentences195
matches
0"looked shocked"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences195
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences235
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen33
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2081
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions4
unquotedAttributions0
matches(empty)
78.95% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions67
wordCount1900
uniqueNames15
maxNameDensity1.42
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Herrera"
discoveredNames
Raven2
Nest2
Soho1
Saint1
Christopher1
Herrera22
Seville1
Quinn27
Spanish1
Camden2
West1
End1
Veil1
Market1
One3
persons
0"Raven"
1"Nest"
2"Saint"
3"Christopher"
4"Herrera"
5"Quinn"
6"Camden"
7"One"
places
0"Soho"
1"Seville"
2"Spanish"
3"West"
4"End"
5"Market"
globalScore0.789
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences131
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.481
wordCount2081
matches
0"not towards escape but towards the street, as if danger already hunted their scent"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences235
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs107
mean19.45
std23.94
cv1.231
sampleLengths
020
172
22
380
433
536
63
715
870
91
104
116
126
1347
145
152
163
173
1867
1949
208
218
2262
239
242
2526
2687
277
284
2912
3010
315
326
3360
3410
3548
3635
3743
3863
394
406
4140
4227
431
444
456
463
4737
4817
495
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences195
matches
0"been painted"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs313
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences235
ratio0
matches(empty)
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount762
adjectiveStacks2
stackExamples
0"slick beside black water"
1"over soot-black stone"
adverbCount19
adverbRatio0.024934383202099737
lyAdverbCount5
lyAdverbRatio0.006561679790026247
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences235
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences235
mean8.86
std6.71
cv0.758
sampleLengths
012
18
229
39
46
53
625
72
87
919
108
1112
126
137
1421
157
164
1722
1813
1923
203
211
228
231
245
2516
2632
2722
281
294
306
316
3219
3314
345
359
365
372
383
393
404
4113
428
4317
4414
4511
464
476
4817
497
60.57% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.39148936170212767
totalSentences235
uniqueOpeners92
73.66% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences181
matches
0"Only half a step, but"
1"Instead it pulsed with life."
2"Somewhere deeper in the warren,"
3"Too many heads."
ratio0.022
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount44
totalSentences181
matches
0"Her shoes hit stone, skidded,"
1"She kept moving."
2"He did not waste breath"
3"He cut left, hurdled a"
4"His black medical case knocked"
5"He looked less like an"
6"She shoved through and saw"
7"She reached for her radio,"
8"He cut north."
9"She had a car half"
10"He knew she knew that."
11"He vaulted a low barrier,"
12"He looked back again."
13"His voice carried even at"
14"He clipped a crate with"
15"He cut into a lane"
16"He knew the route."
17"He ducked once."
18"She heard the crack a"
19"She had spent two weeks"
ratio0.243
37.35% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount153
totalSentences181
matches
0"Herrera ducked under a swinging"
1"Quinn drove through the gap"
2"The bone token flashed once"
3"Rain slicked the pavement and"
4"Her shoes hit stone, skidded,"
5"She kept moving."
6"He did not waste breath"
7"He cut left, hurdled a"
8"His black medical case knocked"
9"The Saint Christopher medallion at"
10"He looked less like an"
11"Quinn hit the gate a"
12"Metal slammed the brick."
13"She shoved through and saw"
14"She reached for her radio,"
15"Uniforms would only clutter the"
16"He cut north."
17"She had a car half"
18"He knew she knew that."
19"He vaulted a low barrier,"
ratio0.845
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences181
matches(empty)
ratio0
95.24% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences75
technicalSentenceCount5
matches
0"Tomás Herrera, twenty-nine, former paramedic, licence revoked, suspected associate of a clique who met in hidden rooms and left bodies with wounds that made no …"
1"It had come from deeper in the wall, a chain of hidden catches waking in sequence, one after the other, as if the station had taken a breath after a long sleep."
2"A pulse of coloured light moved below, red to blue to gold, as if a fairground had gone rotten underground."
3"He glanced past her shoulder, not towards escape but towards the street, as if danger already hunted their scent."
4"The stairs ended at a ticket hall that should have sat dead and dust-choked under the city."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags2
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
90.4047%