Run: 2026-03-09-01KKAC47HAWXSXY1XEMN1S986C

Run Details

Duration:
1m
Cost:
$0.049820
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Horror 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="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Aurora caught the silver chain before the pendant slipped down her shirt, and the Heartstone burned against her palm like a live coal. There. Again. Not heat from her skin. Not nerves. A faint, steady pulse, deep crimson under her thumb, each throb answering something ahead of her in the dark line of trees. She stood just beyond the old iron gate at the edge of Richmond Park with her bike leaned against the railings behind her, the front basket still strapped full of empty takeaway tins from the Golden Empress. The city had followed her this far as a smear of distant traffic and one tired siren, but it stopped at the grass. Beyond the path, beyond the bracken and black yews, the park held its breath. She took out her phone and checked the map again. No signal. “Of course.” Eva would have called this a sign from the universe. Silas would have called it a terrible idea. Yu-Fei would have squinted, handed her a paper bag of sesame balls for courage, and said, in that dry clipped voice of his, that ghosts were like customers, if you ignored them long enough they grew offended. Aurora slid the phone back into her pocket and looked through the trees. The pendant pulsed once more. The note had been brief. No name, no flourish, just six words on a till receipt folded under her flat door. If it warms, follow it to stone. She had nearly binned it. Then the Heartstone had started to glow on her collarbone halfway through a delivery to Kew, and she had remembered the receipt in her coat pocket and the old stories people traded when they were drunk enough to mean them, about a hidden grove in Richmond Park where flowers bloomed out of season and people lost hours, or years, or nothing at all if the place disliked them. She stepped off the path. Wet grass clung to her trainers. Branches snagged her sleeves. The park changed by degrees, so small and sly that she only noticed when she looked back and could not see the iron gate anymore. The air smelled green here, crushed stems and damp bark, but under it lurked something sweeter, thick as spilt cordial. Flowers. Too many of them for this far into autumn. The Heartstone tugged her onward with each pulse of warmth. She kept one hand on it and the other around the little torch on her keys. The beam cut a thin white stripe over trunks and roots, over foxglove leaves, over chalky mushrooms stacked on a stump like crooked plates. No path showed itself, yet the ground ahead remained clear enough to walk. That bothered her more than if she had had to push through bramble. Places people did not use should not feel prepared. A laugh sounded off to her right. Aurora stopped. Not loud. Not close. Just a brief, breathy ripple, gone before she could pin it to a man or a woman, an adult or a child. She turned the torch. Nothing but nettles shivering where no wind moved them. “Not funny,” she said, and heard at once how badly chosen the words were. The sound fell flat. The trees gave nothing back. She walked on. The ground rose. Roots swelled under the turf like knuckles. Pale flowers appeared between them in loose clusters, star-shaped and delicate, their petals holding their own faint light. She crouched and touched one. Cool silk. Real. The stem bent and sprang back. Her nostrils filled with that same syrupy scent, only now there was another note beneath it, metal and water and old stone. Standing stones. She saw the first one between two oaks, a blunt pillar no taller than her shoulder, its surface furred with lichen. Then another. Then six, perhaps eight, spaced in a rough ring around a clearing that should not have fit between so many tightly packed trees. The torch beam trembled as she swept it across them. Each stone bore shallow grooves, not letters, not quite pictures either. The marks twisted when she looked straight at them. Her eyes slid off as if the carvings disliked inspection. The pendant grew hot enough to sting. “All right,” she muttered. “I found the stone. Now what?” No note explained that part. She stepped between two pillars, and the park changed all at once. The sweet smell sharpened. The dark seemed to lift without growing brighter, as if the clearing made its own rules about sight. Wildflowers spread across the grass in impossible colour, white campion beside bluebells, buttercups beside hellebore, all of them blooming together in a hush that felt arranged. In the centre stood an old oak, vast and bent, its trunk split with age into three thick columns that had fused again near the roots. Silver ribbons hung from the lower branches. No, not ribbons. Strips of bark peeled so thin they moved like fabric. Aurora turned to mark her way back. The gap between the stones had gone. The ring still stood around the clearing, but every space between the pillars showed only more flowers and more trees at impossible angles, as if the grove had folded up the path behind her. Her fingers tightened around the Heartstone. “Brilliant.” She circled left, calm because panic never solved the first problem and always invented three more. She tested each gap with the torch. At one opening she saw dense thorn. At the next, a wall of fern. At the third, a shallow stream that had not been there a moment ago, black water sliding over white pebbles. This was not Richmond Park anymore, not in any sensible way. The pendant answered with a quick tick-tock pulse, hotter now, and dragged her attention toward the oak. She approached it slowly. Up close, the trunk bore cuts too regular for natural scars, thin slits pressed into the bark in spirals. Some held old coins gone black. Some held beads of amber sap. One held a small silver ring, half swallowed by wood. “Who keeps leaving jewellery in cursed trees?” Her own voice sounded wrong in the clearing. Not louder. Closer, as though someone stood just over her shoulder and spoke with her mouth. Aurora glanced back. No one. She crouched near a root thick as a bench. The Heartstone swung free and knocked against the bark. Heat surged through the pendant so sharply she hissed and jerked it away. The crimson gem brightened from within, and for one instant she saw a narrow seam at the base of the oak where two roots crossed, a slit of red light no wider than a knife cut. Then the glow faded. She pressed her palm to the rough bark and leaned closer. The seam vanished. “Come on.” Nothing. She took the pendant in both hands and held it out again. The gem warmed. The seam returned, weaker this time, but enough. There was a hollow behind the roots, hidden by moss and shadow, and inside that hollow sat a small object wrapped in oilcloth. Aurora reached for it. Something clicked behind her. She froze with her fingers brushing the parcel. Not a branch settling. Too crisp. Like a heel on stone. She listened. The grove kept still. Flowers nodded without breeze. Somewhere far off, water trickled. Then came another sound, to her left this time, a soft rustle circling the clearing with patient care. She stood and turned. The torch beam skimmed over the standing stones. Between two of them, just for a beat, a pale shape withdrew. Not white cloth. Not deer hide. It moved upright. Aurora swallowed. “If you’re a park ranger, this is an odd way to introduce yourself.” Silence. Then, from near the oak, so close she felt the air stir by her ear, a voice whispered, “Rory.” She spun so hard the torch flew from her hand and struck the grass, beam spinning wild over flowers and roots and stone. No one stood behind her. Her pulse kicked. She crouched, snatched up the torch, and backed against the oak. Her bright blue eyes swept the clearing, catching only lightless gaps and petals flashing pale under the beam. That had been her name. Not Aurora. Rory. A name only friends used. A name Evan had once used with soft careful sweetness that had turned, in time, into something sticky and possessive. The memory brushed her skin like mould. “Not cute,” she said, sharper now. “Not remotely.” A laugh answered from the far side of the ring. The same breathy laugh as before, except now it carried a hitch in it, almost a sob. Aurora bent and snatched the oilcloth parcel from the hollow. It weighed less than expected. Thin. Flat. She shoved it into her coat pocket without looking. The Heartstone gave one fierce throb, then settled into a hot hum against her skin. Good enough. She had what she came for. She moved towards the nearest gap between the stones. Halfway there, she saw footprints in the flowers. Bare feet. Narrow. Freshly pressed into the soft ground, petals crushed dark around each mark. They crossed her path from right to left in a slow curve, and they were wrong in one plain, nauseating detail. Every print faced towards her. Aurora stopped dead. The track continued anyway, as if whoever had made it had walked backwards through the clearing without disturbing a single stem outside the neat oval impressions. The last footprint ended three feet from the stone ahead. Beyond it, nothing. She lifted the torch. The standing stone gleamed dully. At first she thought the lichen on its face had thickened. Then the green patch blinked. An eye opened in the stone. Not carved. Wet. The pupil narrowed around the torchlight. Aurora staggered back. The beam jerked sideways and caught movement at the edge of the clearing, then another, then another. Figures slipped between the trunks, never fully visible, tall and slight, all pale where skin showed, or bark, or bone, she could not tell which. Each time the torch landed on one, it slid behind a tree with a grace that felt practised, amused. “Rory.” The whisper came from the ring of stones. “Rory.” From the oak. “Rory.” From just above her, among the peeling bark strips that swayed though the air remained still. She backed away from the nearest stone and collided with the trunk. The oak shuddered under the impact, once, like something waking. Sap bled from one of the carved slits in a slow amber tear. The sweet smell thickened until it coated her throat. Think. Rule one, if the world stopped obeying itself, trust the thing with the clearest motive. The pendant had led her in. It had found the parcel. It had heated at the hollow in the roots, not at the whispering, not at the shadows. She yanked the Heartstone from under her shirt and held it up. Its crimson glow flared so bright the clearing reddened. The flowers dimmed. The figures at the edge of the grove halted all at once, every one of them turning their hidden faces towards the gem. Then all the whispers stopped. The silence struck harder than the voices had. Aurora looked at the stones. Every gap now showed a proper path again, narrow and dark between trunks. Only one path pulsed faintly in answer to the pendant, a thread of red deep in the undergrowth, vanishing beyond the ring. She took one step towards it. Something dropped from the oak behind her. Not a twig. Heavy. Wet. It hit the ground with a slap. She turned the torch. A woman crouched where there had been empty grass a second before. Long black hair hung over her face. Her dress clung to her like soaked paper. One hand splayed on the earth, fingers too long by a joint. The other gripped the silver ring that had been embedded in the bark. Bits of wood still clung to her skin. She lifted her head in small jerks, like an animal learning how necks worked, and the hair slid back from a face that wore Aurora’s features with hateful care, bright blue eyes, straight black hair, the same mouth, the same scar on the left wrist, only older somehow, stretched with hunger. The thing smiled. Then every figure in the trees stepped into the clearing at once.
created_at"2026-03-09T22:40:17.465Z" 3/9/2026, 10:40:17 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3456
moderation_latency(null)
generation_time60423
tokens_prompt4560
tokens_completion3235
native_tokens_prompt4064
native_tokens_completion2644
native_tokens_completion_images0
native_tokens_reasoning74
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"
usage0.04982
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_03dce17ce7b8ea580169af4c518c288197ac9ec25548beba4b"
is_byokfalse
latency226
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-1773096017-UKswtarfEZhFPIhRUhYx"
upstream_id"resp_03dce17ce7b8ea580169af4c518c288197ac9ec25548beba4b"
total_cost0.04982
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
totalTags4
adverbTagCount0
adverbTags(empty)
dialogueSentences14
tagDensity0.286
leniency0.571
rawRatio0
effectiveRatio0
92.75% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2069
totalAiIsmAdverbs3
found
0
adverb"tightly"
count1
1
adverb"slowly"
count1
2
adverb"sharply"
count1
highlights
0"tightly"
1"slowly"
2"sharply"
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)
66.17% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2069
totalAiIsms14
found
0
word"pulse"
count4
1
word"throb"
count2
2
word"pulsed"
count2
3
word"warmth"
count1
4
word"silk"
count1
5
word"trembled"
count1
6
word"silence"
count2
7
word"whisper"
count1
highlights
0"pulse"
1"throb"
2"pulsed"
3"warmth"
4"silk"
5"trembled"
6"silence"
7"whisper"
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
narrationSentences207
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences207
filterMatches(empty)
hedgeMatches
0"started to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences217
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen68
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2069
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions3
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions33
wordCount2026
uniqueNames9
maxNameDensity0.64
worstName"Aurora"
maxWindowNameDensity1.5
worstWindowName"Aurora"
discoveredNames
Heartstone7
Richmond3
Park3
Golden1
Empress1
Kew1
Aurora13
Evan1
Wet3
persons
0"Heartstone"
1"Aurora"
2"Evan"
places
0"Richmond"
1"Park"
2"Golden"
3"Kew"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences123
glossingSentenceCount1
matches
0"not quite pictures either"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2069
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences217
matches
0"explained that part"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs103
mean20.09
std24.25
cv1.207
sampleLengths
023
12
2103
310
42
52
655
718
821
97
1073
115
1265
1310
1475
157
162
1726
184
199
2023
213
2264
232
2486
257
2610
275
2812
2994
307
317
3234
337
3457
3511
3617
3745
387
3924
403
412
4267
434
4414
452
461
4746
484
494
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences207
matches
0"been embedded"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs318
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences217
ratio0
matches(empty)
93.17% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2029
adjectiveStacks0
stackExamples(empty)
adverbCount97
adverbRatio0.04780680137999014
lyAdverbCount17
lyAdverbRatio0.008378511582060127
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences217
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences217
mean9.53
std8.93
cv0.936
sampleLengths
023
11
21
35
42
522
637
723
814
910
102
112
1210
138
1437
1513
165
175
1816
197
205
2168
225
236
244
2525
2620
271
289
2910
3016
3124
3213
3313
349
357
362
372
382
3922
404
419
4214
434
445
453
463
477
4818
495
46.85% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats20
diversityRatio0.33640552995391704
totalSentences217
uniqueOpeners73
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount13
totalSentences175
matches
0"Then the Heartstone had started"
1"Too many of them for"
2"Just a brief, breathy ripple,"
3"Then six, perhaps eight, spaced"
4"Then the glow faded."
5"Somewhere far off, water trickled."
6"Then came another sound, to"
7"Then, from near the oak,"
8"Freshly pressed into the soft"
9"Then the green patch blinked."
10"Then all the whispers stopped."
11"Only one path pulsed faintly"
12"Then every figure in the"
ratio0.074
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount45
totalSentences175
matches
0"She stood just beyond the"
1"She took out her phone"
2"She had nearly binned it."
3"She stepped off the path."
4"She kept one hand on"
5"She turned the torch."
6"she said, and heard at"
7"She walked on."
8"She crouched and touched one."
9"Her nostrils filled with that"
10"She saw the first one"
11"Her eyes slid off as"
12"She stepped between two pillars,"
13"Her fingers tightened around the"
14"She circled left, calm because"
15"She tested each gap with"
16"She approached it slowly."
17"Her own voice sounded wrong"
18"She crouched near a root"
19"She pressed her palm to"
ratio0.257
94.29% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount128
totalSentences175
matches
0"Aurora caught the silver chain"
1"A faint, steady pulse, deep"
2"She stood just beyond the"
3"The city had followed her"
4"She took out her phone"
5"Eva would have called this"
6"Silas would have called it"
7"Yu-Fei would have squinted, handed"
8"Aurora slid the phone back"
9"The pendant pulsed once more."
10"The note had been brief."
11"She had nearly binned it."
12"She stepped off the path."
13"Branches snagged her sleeves."
14"The park changed by degrees,"
15"The air smelled green here,"
16"The Heartstone tugged her onward"
17"She kept one hand on"
18"The beam cut a thin"
19"That bothered her more than"
ratio0.731
28.57% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences175
matches
0"If it warms, follow it"
ratio0.006
77.92% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences77
technicalSentenceCount7
matches
0"Wildflowers spread across the grass in impossible colour, white campion beside bluebells, buttercups beside hellebore, all of them blooming together in a hush t…"
1"In the centre stood an old oak, vast and bent, its trunk split with age into three thick columns that had fused again near the roots."
2"The ring still stood around the clearing, but every space between the pillars showed only more flowers and more trees at impossible angles, as if the grove had …"
3"At the third, a shallow stream that had not been there a moment ago, black water sliding over white pebbles."
4"A name Evan had once used with soft careful sweetness that had turned, in time, into something sticky and possessive."
5"The track continued anyway, as if whoever had made it had walked backwards through the clearing without disturbing a single stem outside the neat oval impressio…"
6"She lifted her head in small jerks, like an animal learning how necks worked, and the hair slid back from a face that wore Aurora’s features with hateful care, …"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount1
matches
0"close she felt, a voice whispered,"
78.57% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount1
fancyTags
0"she muttered (mutter)"
dialogueSentences14
tagDensity0.214
leniency0.429
rawRatio0.333
effectiveRatio0.143
89.2763%