Run: 2026-03-09-01KKAC1R5E0K7P1KGR9S3SM4PH

Run Details

Duration:
1m 7s
Cost:
$0.047227
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
“Stop!” The man glanced back once, grin white in the dark, then vaulted a stack of empty kegs and hit the alley mouth at a run. Detective Harlow Quinn shoved through the service door of the Raven’s Nest with enough force to crack it against the brick. Neon from the bar’s green sign bled across the wet pavement and broke under her boots. Soho had emptied in that false way London streets did, never still, never safe, just thinned to smokers under awnings, cabs hissing past, and figures who kept their collars high and their business private. The suspect was already halfway down the lane. He wore a black bomber jacket and moved like someone who had practised fleeing. Not a drunk stumble, not panic. Clean footwork. Efficient. One hand clamped to his side where Quinn had seen the blood first, bright against the back room’s old wood floor, droplets leading from the hidden bookshelf door to the yard behind the bar. He had run because he had something to hide. Or someone. Quinn tore after him. Her left wrist watch slapped against the bone every time her arm pumped. Behind her, the bar door banged again. “Detective!” She did not look back. “Call it in.” That had been the barman, or one of the regulars, she did not care which. The Nest stank of stale beer, citrus peel and secrets. She had gone in to ask polite questions about a dead accountant with strange marks burned into his palms. She had found a locked room, three men who lied too fast, and this one, bleeding and heading for the exit. The suspect cut across the street. A taxi skidded, horn blaring. “Watch it, you lunatic!” He did not slow. Quinn slipped between two cars, felt a wing mirror clip her coat, then pounded after him into a narrower road where market rubbish floated in gutter water. Rain needled off the rooftops and turned the paving slick as glass. Light from off-licences and late cafés smeared over the street, gold and red and sickly blue. The man looked over his shoulder again. “Police!” Quinn shouted. “You’re done.” He laughed, breathless. “Then keep up.” He swung right, darted through a knot of people outside a kebab shop, and sent one of them sprawling. Quinn ploughed through the gap he left. “Sorry.” “You copper?” No answer. Waste of air. The city shifted as she ran, Soho giving way street by street, the polished rot of the centre yielding to a rougher edge. Her shoes slapped stone. Music thudded through club walls. Somewhere glass smashed and people cheered as if it were part of the entertainment. She kept the suspect fixed in the centre of her vision, measured distance, pace, the favouring of his left side. He was losing blood. That mattered. It meant he would get desperate before he got slow. Good. He ducked into an arcade lined with shuttered shops. Quinn followed and the sound changed at once, rain drumming on plastic roofing, footsteps amplified. Old posters peeled from the walls in damp strips. The suspect kicked a bin behind him. Quinn hurdled it, landed hard, kept moving. “Who stabbed you?” “Wouldn’t you like to know?” “Yes.” “Ask your friends in the bar.” He burst out the far side of the arcade and onto a busier road. Camden direction. Quinn knew it before she saw the station signs, before the graffiti thickened and the shopfronts took on that patched, sleepless look. The city had districts layered over older districts, and under all of them sat tunnels, drains, wartime rooms, forgotten stairs. London hid things well. It had practice. Her radio crackled at her shoulder. “Quinn, report.” She snatched it up without breaking stride. “Foot chase. Male, thirties, dark jacket, wounded. Left Soho heading north. I’m on him.” “Units can meet you at Euston Road.” “He won’t make Euston.” “Quinn.” She clicked the radio off. Control could complain later. The suspect slammed through a street market in the middle of pack-down. Tarps sagged under collected rain. Traders cursed as he barged through hanging rails and stacked boxes. Quinn ducked a swinging pole, planted a hand on a trestle table and vaulted over crates of wilted coriander. Mint and mud crushed underfoot. A fishmonger’s melted ice ran pink into the gutter. “You paying for that?” someone shouted. “Invoice the Met,” Quinn fired back. The suspect staggered for the first time. Small hitch in his stride. He caught himself on a van and left a red handprint on the white paint. There you are. Quinn gained two yards. Then three. He saw it and changed tactics. No more main streets. He sliced into a lane so narrow Quinn had to turn her shoulders to clear the bins. Brick walls pressed close. Steam rose from a basement vent and wrapped round her face, warm and greasy with fryer oil. The man hit a locked gate at the far end, did not hesitate, and climbed. Quinn hit it a second later. Iron rattled under her weight. “Last chance.” He straddled the top, teeth bared. “You don’t want this one, Detective.” “Funny, I do.” His expression twitched. Not fear. Pity. Then he dropped out of sight. Quinn hauled herself up. On the far side lay a service yard behind a row of music shops and cheap tattoo studios. Broken pallets. A dead refrigerator. Murals layered over older murals, colours bleeding in the wet. The suspect was crossing it fast, heading for a shutter set in the wall at the opposite end. Not a door anyone used for deliveries. Too low. Too narrow. Old steel, painted over, then painted again. He yanked something from inside his jacket, a pale disc no larger than a two-pound coin. Bone, by the look of it. He pressed it to a black plate beside the shutter. A lock clunked. The shutter jumped six inches, just enough for him to dive under. It crashed down behind him. Quinn reached it three steps too late. Her hand struck corrugated steel. Cold. Solid. She crouched at once. Fresh blood striped the concrete where he had slid beneath. She touched two fingers to it. Warm. The black plate beside the shutter had no keypad, no card slot, no visible wiring. Just a recessed circle the same size as the token. Quinn straightened and scanned the yard. No camera she could see. No witness except a one-eyed fox tucked beneath the refrigerator, watching her without fear. She keyed her radio back on. “I’ve got a sealed access point off Camden High Street, rear service yard behind the old instrument row. Suspect entered. I need backup and an entry team.” Static crackled. Then, “Repeat? Entered where?” “That’s the question.” “Stay put.” Quinn stared at the shutter. Stay put. Standard advice from people behind desks and windscreens. Reasonable. Safe. Sensible. She knew the value of a perimeter, the discipline of waiting, of not charging blind into a confined space after a wounded suspect who might have friends. Eighteen years in the job had taught her that. So had Morris. Especially Morris. Her jaw tightened. Three years gone and his face still arrived uninvited whenever a doorway looked wrong. One second a warehouse in Deptford, next second blood on concrete and a report full of gaps no one had managed to fill. Unexplained circumstances, the brass had called it. Quinn had called it cowardice with stationery. She looked down at the blood again. If the man bled out in some hidden cellar while she stood outside obeying procedure, she would lose him and everything he carried from that room in the Raven’s Nest. Names, goods, records, whatever the clique hid behind their polished glasses and expensive lies. The back room had not been for card games. She had seen too much fear in too little space. A voice drifted from the alley entrance. “Bit late for shopping, Detective.” Quinn turned. Tomás Herrera stood under the broken security light with his hands visible and his coat open. Rain darkened his curls and turned the scar on his left forearm into a thin silver slash. His Saint Christopher medallion glinted at his throat before it slipped under his shirt again. He looked like a man who had arrived in a hurry and hated what he had found. Quinn’s hand moved near her holster. “You’ve got poor timing.” “I heard there was blood at the Nest.” “You heard fast.” “I know people.” “That’s what worries me.” He walked closer, eyes dropping to the smear under the shutter. His face changed by a degree. Not surprise. Recognition. “He’s gone below.” “Below what?” Tomás looked at the steel as if it might answer for him. “Camden keeps old bones under the pavement. Tunnels. Platforms they closed and forgot. Some people prefer that sort of place.” “Some people.” His gaze met hers. Warm brown eyes, tired as old leather. “You’ll know the name if I say it.” “Try me.” “The Veil Market.” The words landed with the weight of nonsense and threat at once. Quinn had heard scraps over the past year. Drunks, junkies, one terrified witness in Brixton who swore she had bought a bottle of sleeping dust from a woman with no reflection. Camden stories. Urban rot dressed up as folklore. Yet here stood a man with blood on his shoes and no flicker of humour in his face. “You expect me to believe that.” “I expect you to listen.” “I’ve listened to too many fairy tales already.” “Then add one more. The market moves. It lives in places no one wants. Old stations. Flood channels. Vaults. You need a token to enter. Bone. Carved. Bound to the door.” Quinn glanced at the black plate. The suspect’s pale disc. The fit was too neat to dismiss. “What’s sold there?” Tomás gave a short, joyless huff. “What isn’t? Information. Powder that stops hearts. Powder that starts them. Teeth, relics, forged papers, old names, favours. Some stalls sell medicine. Some sell worse things.” “You’ve been in.” A pause. “Yes.” “For work.” “Yes.” “Off the books.” His mouth tightened. “No one asks for receipts where I work.” That much matched what she knew. Former paramedic. Lost licence. Too many unofficial patients with injuries hospitals never saw. He had floated round the edges of three inquiries and slipped every net cast at him. Quinn stepped closer until only a foot of wet concrete stood between them. “You could have led my suspect there.” “If I had, I wouldn’t come back to warn you.” “People do strange things when they’re frightened.” “Then be frightened properly.” He nodded at the shutter. “If he carries what I think he carries, he won’t be alone for long.” Quinn studied him. His shoulders held tension like a man expecting a blow. Not from her. From the place under their feet. “Open it.” Tomás did not move. “No.” The word surprised her more than agreement would have. “You don’t give orders here,” he said. “I do when a suspect runs.” “He ran into a hornet’s nest you don’t understand.” “I understand murder, trafficking, extortion, conspiracy. If your market deals in any of that, it’s mine.” His eyes sharpened. “And if it deals in things your forms don’t have boxes for?” “My forms can learn.” For a moment the yard held still around them, just rain ticking off metal and the distant growl of traffic beyond the wall. Then a muffled scream rose from beneath the shutter. Not long. One torn sound, cut off hard. Quinn’s radio barked. “Units delayed. Road closure near Chalk Farm. ETA ten.” Ten minutes. Tomás shut his eyes once, opened them, and reached inside his coat. Quinn’s stance shifted at once. “Easy.” He drew out a small leather pouch and tipped a pale token into his palm. Bone, polished smooth by use, carved with lines that made her eyes snag if she looked too long. “You follow my lead,” he said. “I don’t.” “You do if you want to come back up.” He crouched by the plate and pressed the token into the recess. The lock answered at once, not with a clunk this time but with a deep mechanical groan from somewhere far below. The shutter rattled and began to rise. Damp air poured out, cool and mineral, carrying scents that did not belong together, incense, rust, frying meat, bleach, wet stone, and beneath it all the copper sting of fresh blood. Light moved in the gap. Not electric. Too unsteady. Lanterns, perhaps, or candles. Voices drifted up through the widening opening, dozens of them, bartering, laughing, arguing in languages Quinn knew and others she did not. A train announcement crackled from some dead speaker deep in the dark, warped beyond sense. Tomás looked at her one last time. “You can still wait for your team.” Footsteps thundered below. Fast. Coming up. Quinn ducked under the rising shutter and drew her weapon. A man burst from the stairwell, face slick with blood that was not his own, and behind him something hit the tiled tunnel wall hard enough to crack it.
created_at"2026-03-09T22:38:56.188Z" 3/9/2026, 10:38:56 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency5826
moderation_latency(null)
generation_time67311
tokens_prompt4663
tokens_completion3641
native_tokens_prompt4132
native_tokens_completion3055
native_tokens_completion_images0
native_tokens_reasoning214
native_tokens_cached3968
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.047227
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_0a2f9ee4ab2c46100169af4c0043588196ac8019f560951950"
is_byokfalse
latency239
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-1773095936-3rVpOYn3nO6A1r7TICrL"
upstream_id"resp_0a2f9ee4ab2c46100169af4c0043588196ac8019f560951950"
total_cost0.047227
cache_discount0.008928
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags6
adverbTagCount0
adverbTags(empty)
dialogueSentences71
tagDensity0.085
leniency0.169
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2182
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)
70.21% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2182
totalAiIsms13
found
0
word"efficient"
count1
1
word"measured"
count1
2
word"footsteps"
count2
3
word"weight"
count2
4
word"scanned"
count1
5
word"standard"
count1
6
word"flicker"
count1
7
word"tension"
count1
8
word"mechanical"
count1
9
word"electric"
count1
10
word"thundered"
count1
highlights
0"efficient"
1"measured"
2"footsteps"
3"weight"
4"scanned"
5"standard"
6"flicker"
7"tension"
8"mechanical"
9"electric"
10"thundered"
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
emotionTells0
narrationSentences204
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences204
filterMatches
0"watch"
hedgeMatches
0"managed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences268
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen34
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2182
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions55
wordCount1775
uniqueNames14
maxNameDensity1.63
worstName"Quinn"
maxWindowNameDensity3
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn29
Raven2
Nest3
London2
Soho2
Morris2
Deptford1
Herrera1
Saint1
Christopher1
Brixton1
One3
Tomás6
persons
0"Harlow"
1"Quinn"
2"Raven"
3"Morris"
4"Herrera"
5"Saint"
6"Christopher"
7"One"
8"Tomás"
places
0"London"
1"Soho"
2"Deptford"
3"Brixton"
globalScore0.683
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences118
glossingSentenceCount1
matches
0"looked like a man who had arrived in a hu"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.458
wordCount2182
matches
0"not with a clunk this time but with a deep mechanical groan from somewhere far below"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences268
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs134
mean16.28
std18.64
cv1.145
sampleLengths
01
125
271
38
457
59
62
724
81
98
1065
1111
124
1359
147
155
166
1726
181
192
205
2182
221
2347
243
255
261
276
2865
296
302
3121
327
334
341
359
3661
376
386
3927
403
416
4263
4311
442
4512
463
4712
4855
4918
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences204
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs317
matches
0"was losing"
1"was crossing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences268
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1779
adjectiveStacks1
stackExamples
0"No more main streets."
adverbCount55
adverbRatio0.030916245081506463
lyAdverbCount3
lyAdverbRatio0.0016863406408094434
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences268
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences268
mean8.14
std7.02
cv0.862
sampleLengths
01
125
221
316
434
58
614
76
82
91
1034
119
122
134
1413
157
161
175
183
1915
2010
2119
2221
236
245
254
264
2727
2812
2916
307
313
322
333
343
3519
367
371
382
392
403
4123
424
435
4414
4520
464
472
4810
491
62.69% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.3917910447761194
totalSentences268
uniqueOpeners105
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences164
matches
0"Somewhere glass smashed and people"
1"Then he dropped out of"
2"Just a recessed circle the"
3"Too many unofficial patients with"
4"Then a muffled scream rose"
ratio0.03
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount47
totalSentences164
matches
0"He wore a black bomber"
1"He had run because he"
2"Her left wrist watch slapped"
3"She did not look back."
4"She had gone in to"
5"She had found a locked"
6"He did not slow."
7"He laughed, breathless."
8"He swung right, darted through"
9"Her shoes slapped stone."
10"She kept the suspect fixed"
11"He was losing blood."
12"It meant he would get"
13"He ducked into an arcade"
14"He burst out the far"
15"It had practice."
16"Her radio crackled at her"
17"She snatched it up without"
18"She clicked the radio off."
19"He caught himself on a"
ratio0.287
69.76% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount128
totalSentences164
matches
0"The man glanced back once,"
1"Detective Harlow Quinn shoved through"
2"Neon from the bar’s green"
3"Soho had emptied in that"
4"The suspect was already halfway"
5"He wore a black bomber"
6"He had run because he"
7"Quinn tore after him."
8"Her left wrist watch slapped"
9"She did not look back."
10"That had been the barman,"
11"The Nest stank of stale"
12"She had gone in to"
13"She had found a locked"
14"The suspect cut across the"
15"A taxi skidded, horn blaring."
16"He did not slow."
17"Quinn slipped between two cars,"
18"Rain needled off the rooftops"
19"The man looked over his"
ratio0.78
30.49% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences164
matches
0"If the man bled out"
ratio0.006
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences69
technicalSentenceCount4
matches
0"She had found a locked room, three men who lied too fast, and this one, bleeding and heading for the exit."
1"Drunks, junkies, one terrified witness in Brixton who swore she had bought a bottle of sleeping dust from a woman with no reflection."
2"Damp air poured out, cool and mineral, carrying scents that did not belong together, incense, rust, frying meat, bleach, wet stone, and beneath it all the coppe…"
3"A man burst from the stairwell, face slick with blood that was not his own, and behind him something hit the tiled tunnel wall hard enough to crack it."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags6
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount2
fancyTags
0"Quinn shouted (shout)"
1"someone shouted (shout)"
dialogueSentences71
tagDensity0.056
leniency0.113
rawRatio0.5
effectiveRatio0.056
93.1269%