Run: 2026-03-09-01KKACCNZWWNWRQ25NWD644X6B

Run Details

Duration:
1m 14s
Cost:
$0.047542
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 clipped a fruit crate with his shin, swore, and kept running. Quinn hurdled the splintered wood a beat later, her shoes slapping through a skin of rainwater that had turned the Camden pavement slick as oil. Her breath tore hot through her throat. Ahead, the suspect shoved through a knot of late drinkers outside a fried chicken shop and vanished into the glare of red brake lights. “Police!” One of the drinkers spun, affronted. “Bit late to flash that now, isn’t it?” Quinn shouldered past him. A bus sighed at the kerb. The suspect ducked in front of it, using the broad red body like a moving wall. Quinn saw one thing clearly before the bus cut him off, a dark coat, cheap nylon, and a pale hand clamped over his ribs as if he was holding something in. Or holding something in place. Her worn leather watch stuck to her wrist. She did not check the time. She checked angles, gaps, exits. Eighteen years in the job had pared that instinct down to bone. The bus lumbered on. The man had cut left. Quinn sprinted after him into a narrower street where the noise changed. Less traffic, more echo. Rain drummed off shutters and rattled down drainpipes. Music leaked from a nearby pub doorway, bass first, then laughter, then the door slammed and left only the slap of feet. The suspect glanced back. Young. Early thirties. Shaved head. Blood on his mouth. He saw how close she was and fumbled in his pocket. Quinn’s hand dropped to her baton. “Don’t,” she said. He pulled out a small white object and clenched it in his fist. Not a blade. Not a phone. Bone. He cut through a row of market stalls wrapped in tarpaulin. A woman selling bootleg vinyl shouted when he sent a stack of records skidding into black water. “Animal.” “Which way?” Quinn barked. The woman jabbed a nicotine-stained finger. “Down the lane, love. And he owes me twenty quid.” Quinn ran on. Her calves burned. The smell changed again as she crossed the mouth of an alley, damp brick, stale beer, fried grease gone cold, then something sweeter and wrong beneath it. Rot with spice over the top. She knew that scent from old lock-ups and two ruined basements in Deptford, places where people had stored things they should never have bought. The lane pinched tight between a tattoo parlour and a boarded betting shop. A greenish puddle glowed under a broken sign. At the far end, the suspect skidded, caught himself on the wall, and hammered on a metal service door painted with flaking black gloss. No handle on the outside. No keypad. Nothing but rust and a rectangle of old stickers. He slapped the bone token against the steel. Something clicked on the other side. Quinn lunged. Her fingers brushed the back of his coat just as the door opened inward a crack. A face peered through the gap, long nose, waxy skin, eyes that reflected light like a cat’s. “Late,” it said. The suspect rammed himself through. Quinn slammed her palm against the door before it shut. The thing behind it hissed. “Police. Open it.” “Not tonight.” Quinn drove her shoulder into the gap. Pain burst down her arm. The doorkeeper’s hand shot out. Too many knuckles. Nails black as old teeth. Quinn struck its wrist with her baton. The creature yelped and recoiled. She forced the door wide enough to see a stairwell dropping into yellow light. The suspect stumbled down the first flight, one hand on the rail, one still clamped over his side. Blood marked the steps. He looked up, saw her silhouette in the doorway, and bared his teeth in a grin that had panic all through it. “Come on then, detective.” He vanished below. The doorkeeper cradled its wrist and spat on the floor. “You don’t belong here.” Quinn flashed her warrant card out of habit, then heard herself and almost laughed. A rectangle of laminated authority meant little in a stairwell under Camden with a bleeding man disappearing into God knew what. “Move.” “That token opens more than a door.” “Good for the token.” She stepped inside. The air changed at once. Street rain gave way to trapped heat, incense, rust, and the copper sting of fresh blood. The stairwell walls sweated. Old Tube tiles showed through patches of grime, cream and bottle green under newer symbols painted in tar. Some she recognised from case files, ward marks, directional sigils, nonsense daubed by frauds, and some she did not recognise at all. The ones she did not know made her eyes slide off them. The doorkeeper shut the door behind her with a heavy clang. Quinn half turned. “Open that again.” “After market hours? No.” “Then you stay close.” Its thin lips peeled back. “No.” Footsteps rang below. Fast. Fading. Quinn took the stairs two at a time. The stairwell bent, then widened into an abandoned concourse cut open and repurposed into something feverish and alive. Lamps made from old railway lanterns swung above a spread of stalls, trestle tables, salvaged cabinets, locked glass cases, and patched awnings sewn from velvet, canvas, and what looked too much like skin. Traders called prices over one another in English, Spanish, Polish, Arabic, and a few languages that sounded wet in the mouth. A man in a butcher’s apron hacked at a carcass with silver bones. A woman poured a dark liquid from a chemist’s flask into tiny stoppered bottles. A child with milky eyes sold rings from a cigar box. And everyone looked at Quinn. Not at the police coat. At her face. At the clean line of the baton in her hand. At the fact she was wrong for this place in the way fire was wrong for paper. The suspect had left a path through them. A dropped tray of charms. A cursing seller. A smear of blood along a pillar tiled with old Underground roundels. Quinn moved. “Out of the way.” No one did, not fast enough. She shoved through a pair of men arguing over a cage draped with a filthy cloth. Something inside the cage clicked its teeth at her. On her left, a booth displayed jars of eyes floating in cloudy fluid, brown, blue, goat-yellow, one pair still tracking movement. On her right, a chalkboard listed prices for favours, names crossed out beneath rates. The suspect vaulted a narrow counter and sent a spread of cards spinning. The stallholder rose with a furious intake of breath. “Watch it!” Quinn pointed. “That man.” “So?” “He’s bleeding.” “Everyone bleeds.” He had a point. She chased on. A train map still clung to the curved wall above the market, station names half scratched away. Chalk sigils and old soot turned the tunnels into throats. The sound of the market layered over itself, haggling, muttering, a baby crying somewhere deep in the maze, metal clinking, rats in the walls, then a low note like a distant organ from farther down the line. The suspect ducked into a side passage hung with strips of dark plastic. Quinn hit the curtain and burst through into a butcher’s runnel. Hooks swung from overhead rails. Blood diluted to pink swirled towards a clogged drain. The floor tried to steal her footing. At the far end, the man had cornered himself against a locked gate. He spun, chest heaving, and at last took his hand away from his ribs. Something moved under his coat. Not something. Someone. No, too small for that, too deliberate for a wound. A bulge slid beneath the wet nylon and pressed outward, making the fabric twitch. The suspect looked less frightened of Quinn than of whatever he carried. “Easy,” Quinn said. He laughed, thin and breathless. “Bit late for easy.” “What did you take?” “Didn’t take. Delivered. Nearly.” His accent was London, rough edges, market-boy sharpened by fear. Blood ran down his fingers and tapped onto the floor in a fast little rhythm. “Who were you meeting?” “You lot always ask the wrong thing.” “Who?” “Ask what.” The coat bulged again. Quinn saw a tiny handprint from the inside, five sharp points, inhumanly narrow. Her baton lowered an inch. The suspect saw it and smiled with sudden, horrible relief. “There you are. You can see it too.” Footsteps approached behind her. Not one set. Many. Traders drawn by blood and delay. Quinn did not turn. “Put your hands where I can see them.” “They’ve got eyes on this cargo from Soho to Chalk Farm. You think cuffs sort that?” “Soho?” He spat red onto the floor. “You’ve heard of the Raven’s Nest, then.” Quinn’s jaw tightened. She had spent six weeks circling that bar and every useless, charming liar who walked through its green neon glow. Every lead thinned out or died. Tonight one had bolted from a meet with half his insides hanging open. “Who sent you?” “Didn’t get the name. I got the money.” The gate behind him rattled. From the other side, something knocked once. Then again, harder. The suspect’s face crumpled for a second. Not grief. Regret with teeth. “You should’ve let me run.” The bulge tore through the side of his coat. Quinn moved before thought caught up. She closed the distance, grabbed his wrist, and wrenched him sideways as a narrow black limb punched free, jointed backwards, slick with blood and yellow fluid. The suspect screamed. The limb whipped at Quinn’s face. She brought the baton up. Crack. The thing recoiled with a shrill insect cry. The crowd at the curtain surged back all at once, robes brushing canvas, shoes scraping wet concrete. “No blades,” someone muttered. “Too late for rules.” “Whose is it?” “Not mine.” The suspect folded, clutching his split coat. More limbs writhed beneath it, unfolding, forcing space where no space existed. Quinn drove him down with one forearm across his shoulders. “Hold still.” “Brilliant advice,” he gasped. She snatched at the coat, ripping it open. Inside, lashed to the man’s torso with wire and duct tape, crouched a creature the size of a dog but built wrong, all folded elbows, translucent skin, and a child’s face stretched over a skull too long for it. Its mouth opened sideways. Rows of needle teeth worried at the tape. One dark eye fixed on Quinn with greedy focus. A woman in the crowd clicked her tongue. “That should’ve gone in a crate.” Quinn barked over her shoulder, “Call an ambulance.” Laughter answered her. The creature snapped another strip of tape. One limb stabbed into the suspect’s chest for leverage. He made a wet, broken sound. Quinn struck at the limb. The baton connected. The thing shrieked and sprang. It hit the hanging hooks, skittered across them like a spider, then launched straight at Quinn’s face. She dropped and rolled. Metal rang above her. The creature slammed into the gate hard enough to shake it loose on one hinge. The impact triggered chaos. Stalls in the passage overturned as people fled. Someone screamed about wards. Someone else screamed about refunds. The suspect crawled through the blood towards Quinn and grabbed her sleeve with a red hand. “Don’t let it get to the main floor.” “What is it?” “Egg-harvest.” That meant nothing and far too much. Quinn hauled him by the collar towards the wall as the creature gathered itself again, limbs ticking on steel. Up close it stank of old milk and opened graves. A voice cut through the panic from the mouth of the passage, warm, male, carrying over the din. “Move, all of you. Move.” People obeyed him. Tomás Herrera stepped through the parted crowd with a black medical bag in one hand and a flare gun in the other. His short dark curls clung damply to his forehead. The scar along his left forearm shone pale against olive skin. At his throat, a Saint Christopher medallion flashed once in the bad light. He took in the suspect, the blood, Quinn on one knee, the creature on the gate. His expression did not change. Only the set of his shoulders did. “That’s not a patient,” he said. Quinn recognised him from surveillance photos, from whispered names attached to miracle recoveries and vanished witnesses. “You’re Herrera.” “And you’re in the wrong basement.” The creature sprang. Tomás raised the flare gun. The gate behind it burst outward at the same moment, and three more of the things came pouring through.
created_at"2026-03-09T22:44:54.411Z" 3/9/2026, 10:44:54 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency12635
moderation_latency(null)
generation_time73812
tokens_prompt4663
tokens_completion3698
native_tokens_prompt4132
native_tokens_completion3076
native_tokens_completion_images0
native_tokens_reasoning358
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"
usage0.047542
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_0a1a84eddd96e42a0169af4d66810c81939f338b4e744cdf4d"
is_byokfalse
latency162
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-1773096294-NpZf8EcNXz9Pxmu6Fie9"
upstream_id"resp_0a1a84eddd96e42a0169af4d66810c81939f338b4e744cdf4d"
total_cost0.047542
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
totalTags8
adverbTagCount0
adverbTags(empty)
dialogueSentences56
tagDensity0.143
leniency0.286
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)
90.39% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2081
totalAiIsms4
found
0
word"echo"
count1
1
word"footsteps"
count2
2
word"velvet"
count1
highlights
0"echo"
1"footsteps"
2"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
emotionTells0
narrationSentences205
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences205
filterMatches
0"watch"
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences253
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen39
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
totalAttributions9
unquotedAttributions0
matches(empty)
59.09% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions56
wordCount1870
uniqueNames17
maxNameDensity1.82
worstName"Quinn"
maxWindowNameDensity3
worstWindowName"Quinn"
discoveredNames
Camden2
Deptford1
God1
Tube1
English1
Spanish1
Polish1
Arabic1
Quinn34
Underground1
London1
Laughter1
Herrera1
Saint1
Christopher1
One3
Blood4
persons
0"Tube"
1"Spanish"
2"Quinn"
3"Laughter"
4"Herrera"
5"Saint"
6"Christopher"
7"One"
8"Blood"
places
0"Deptford"
1"English"
2"London"
globalScore0.591
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences119
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2081
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount3
totalSentences253
matches
0"pared that instinct"
1"knew that scent"
2"circling that bar"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs138
mean15.08
std18.83
cv1.249
sampleLengths
01
169
21
36
48
557
65
731
89
946
104
119
1217
133
1413
156
161
1728
181
194
2016
2163
2245
2316
248
256
2635
273
2815
295
303
312
3251
3322
3422
354
363
3710
384
3935
401
417
424
433
4477
4511
463
473
484
494
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences205
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs327
matches
0"was holding"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences253
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1874
adjectiveStacks1
stackExamples
0"green under newer symbols"
adverbCount44
adverbRatio0.023479188900747065
lyAdverbCount6
lyAdverbRatio0.0032017075773745998
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences253
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences253
mean8.23
std6.73
cv0.818
sampleLengths
01
113
225
37
424
51
66
78
84
96
1016
1131
125
138
146
155
1612
174
185
1912
204
218
2222
234
241
252
262
274
2811
296
303
3113
323
333
341
3511
3617
371
384
396
4010
413
423
4327
446
4524
4613
478
4824
495
53.10% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats19
diversityRatio0.36363636363636365
totalSentences253
uniqueOpeners92
72.86% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences183
matches
0"Too many knuckles."
1"Then again, harder."
2"More limbs writhed beneath it,"
3"Only the set of his"
ratio0.022
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount35
totalSentences183
matches
0"Her breath tore hot through"
1"Her worn leather watch stuck"
2"She did not check the"
3"She checked angles, gaps, exits."
4"He saw how close she"
5"He pulled out a small"
6"He cut through a row"
7"Her calves burned."
8"She knew that scent from"
9"He slapped the bone token"
10"Her fingers brushed the back"
11"She forced the door wide"
12"He looked up, saw her"
13"He vanished below."
14"She stepped inside."
15"Its thin lips peeled back."
16"She shoved through a pair"
17"He had a point."
18"She chased on."
19"He spun, chest heaving, and"
ratio0.191
50.16% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount150
totalSentences183
matches
0"The man clipped a fruit"
1"Quinn hurdled the splintered wood"
2"Her breath tore hot through"
3"Quinn shouldered past him."
4"A bus sighed at the"
5"The suspect ducked in front"
6"Quinn saw one thing clearly"
7"Her worn leather watch stuck"
8"She did not check the"
9"She checked angles, gaps, exits."
10"The bus lumbered on."
11"The man had cut left."
12"Quinn sprinted after him into"
13"Less traffic, more echo."
14"Rain drummed off shutters and"
15"Music leaked from a nearby"
16"The suspect glanced back."
17"Blood on his mouth."
18"He saw how close she"
19"Quinn’s hand dropped to her"
ratio0.82
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences183
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences76
technicalSentenceCount4
matches
0"Quinn hurdled the splintered wood a beat later, her shoes slapping through a skin of rainwater that had turned the Camden pavement slick as oil."
1"Quinn saw one thing clearly before the bus cut him off, a dark coat, cheap nylon, and a pale hand clamped over his ribs as if he was holding something in."
2"A face peered through the gap, long nose, waxy skin, eyes that reflected light like a cat’s."
3"She had spent six weeks circling that bar and every useless, charming liar who walked through its green neon glow."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags8
uselessAdditionCount0
matches(empty)
78.57% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount4
fancyTags
0"Quinn barked (bark)"
1"someone muttered (mutter)"
2"he gasped (gasp)"
3"Quinn barked (bark)"
dialogueSentences56
tagDensity0.143
leniency0.286
rawRatio0.5
effectiveRatio0.143
89.9390%