Run: 2026-03-09-01KKACD2ER2DKBDJEJW77HT3HW

Run Details

Duration:
1m 15s
Cost:
$0.054545
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
The pendant burned against Aurora’s sternum the instant she stepped between the oak stones. She stopped with one boot in trampled grass and the other on a strip of dark earth that had no business cutting through the clearing like a road. The silver chain bit into the back of her neck. Heat pulsed from the deep crimson gem in short, steady beats, not like a heartbeat, more like a knuckle tapping from inside a coffin lid. “Right,” she said into the hush. “That’s new.” The Fae Grove had never welcomed anyone in plain terms, but it had always worn its strangeness with a kind of grace. Wildflowers usually crowded the edges in impossible colour, foxgloves and buttercups and pale blue stars that did not grow in Richmond Park, all of them turning their faces towards whatever light lived here. The air usually smelled green and sweet, damp bark, crushed stems, clean water. Tonight the flowers bent away from the strip of earth. Their stalks leaned so hard they looked pinned by an unseen hand. Aurora let the stones rest at her back for three slow breaths and listened. No traffic. No wind in the branches. No distant laughter from late walkers who had taken the path too far and found more than they wanted. The Grove had swallowed the park whole. Even her own breathing sounded rude. She thumbed the pendant through her shirt. Warm. Brighter than before too, its faint inner glow leaking through the fabric in a dull red stain. The unknown benefactor who had pressed it on her had given no instructions worth a damn, only a warning wrapped in charm, keep it close and when it wakes, do not ignore it. That was all. She had spent weeks cursing that vagueness. Now the Heartstone had dragged her here like a dog on a lead. Aurora crouched and touched the dark strip. The soil looked fresh turned, but it felt wrong under her fingertips, not grainy, not damp. Fine as ash. Cold enough to ache. She rubbed her thumb against her forefinger. Black dust clung to the ridges of her skin. “Not soil,” she murmured. A sound answered her from deeper in the clearing. Not a footstep. A neat little click, as if someone had set down a china cup on a saucer. Aurora rose at once. Her hand went to the small torch in her coat pocket, then stopped. White light felt like an insult in this place. It also felt stupid, broadcasting herself to whatever had made that noise. She left the torch where it was and moved along the edge of the black trail instead, placing each step with care. Her delivery work had trained her well in odd hours and poorer decisions. The body learned how to move quietly when half your wage depended on not waking the wrong dog or the wrong husband. The clearing widened ahead. Silver bark glimmered where no moon should have reached. The old trees ringed the place in a loose wall, each trunk bent inward a fraction, as though they watched the centre. The standing stones here were not like the boundary markers. These were lower, half buried, their tops furred with moss. Someone had wound ribbons through them. Thin white silk, old and frayed, fluttered without wind. Aurora frowned. She had been here before. No ribbons. The black trail ran straight to the middle of the grove, where the grass had flattened into a pale circle. Click. Closer this time, to her left. She turned fast. Nothing stood between the trees, only a dense scatter of foxglove bells drooping like rows of little purple mouths. Yet one of the stems still rocked from a recent touch. “Come out, or stop performing,” Aurora said. Her voice held steady. “Those are the options.” Silence pressed back. She hated that silence. City silence had layers beneath it, trains in tunnels, tyres on distant roads, music from a flat with poor taste. This was clean silence. Curated. It felt deliberate. The pendant throbbed again. Aurora crossed to the pale circle. Up close, flattened grass gave way to something stranger. Each blade lay bent in the same direction, all spiralling inward to a centre no bigger than a dinner plate. She followed the spiral down and saw her own face warped in a skin of water. She jerked back. A pool sat in the middle of the clearing where bare earth should have shown. It had no rim, no muddy edge, no depth she could judge. One blink, there was grass. The next, black water, flat as glass. “That’s not sinister at all.” Her own voice landed badly. Too loud. Too human. Aurora crouched again, this time keeping her weight on the balls of her feet so she could move. She took the pendant from beneath her shirt. The crimson stone glowed in her palm, richer now, lit from a coal-red centre. Warmth soaked into her skin. The silver chain trembled. The pool answered. A ring spread across its surface. Then another. Then a third, though nothing had touched it. The ripples moved inward, not out. Each circle drew tighter and tighter until they vanished at the centre with a soft tick. Aurora stared. She had heard enough stories about Hel portals to dismiss half of them and fear the rest. Doors beneath church crypts. Stretches of road that delivered the dead if you crossed the same bridge three times. Mirrors that reflected your body without your eyes. Most tales came from drunks, liars, or fae who enjoyed both professions. Yet the Heartstone pulsed near a Hel portal, that much she knew. The thing in her hand had never lied to her body, only to her patience. The black water showed movement below the surface. Not a face. Not even a shape. A pale drift, as if cloth floated in deep water. It turned once. Vanished. Aurora rose and took one step back. A child laughed behind her. The sound snapped every muscle in her back taut. She spun. The clearing stood empty, the flowers bowed, the ribboned stones mute. Then the laugh came again, thinner now, stretched wrong, coming from the trees and from somewhere close to her ear at once. “No,” she said, firmer than she felt. “No, you don’t get to do children’s voices. That trick’s older than plague.” The laughter cut off. Branches creaked overhead. She looked up. Something pale moved along a limb and slipped behind the trunk. Too long for a fox. Too smooth for a person. She caught no shape beyond a suggestion of elbows where elbows should not be. Aurora reached into her coat and took out the torch at last. She flicked it on. The beam struck bark, moss, ribbon, flowers. Ordinary surfaces returned her gaze. The branch above stood bare. The click came from the pool. She swung the torch down. The water had risen in a narrow bulge, a small dark cone pushing up from the centre. It quivered. Split. A hand broke the surface up to the wrist. Aurora stumbled back on instinct, then checked herself. The hand was not bloody, not rotten, not dramatic. That made it worse. It looked clean, almost delicate, skin pale as milk glass, fingers long and jointed like carved ivory. No splash followed its rise. The pool gripped it with perfect silence. The hand opened. Nestled in its palm lay a silver key. The pendant scorched her skin so hard she hissed. She nearly dropped it. Crimson light spilled through her fingers and painted the grass in a dark red wash. The hand in the pool twitched at the light, once, sharply, as if scent had reached it. Aurora backed away another step. “I didn’t come for souvenirs.” The hand folded around the key. Slowly, with care, it turned so the knuckles faced up. Then it knocked on the surface of the water beneath it. Click. Click. Click. Three polite taps. Something answered from the trees. Knock. Knock. Knock. Aurora whipped the torch beam towards the sound. Every ribbon tied to the stones now hung straight out, held horizontal by nothing she could see. The white silk pointed into the dark between two elder trees. A figure stood there. Not fully. One shoulder, part of a head, the edge of a ribcage beneath skin that gleamed like wet paper. It leaned out from behind the trunk with all the shy posture of a child playing peekaboo. Except it had no face, only smooth skin with a dent where features should have been. Aurora’s breath caught, but only for a beat. “Not tonight,” she said. The faceless thing ducked back behind the tree. The ribbons dropped. She moved at once, circling away from the pool, putting stone markers between herself and the elder trees. Cool-headed, her mother used to say, with that mix of pride and worry mothers perfect. Cool-headed meant counting exits before panic picked one for you. Boundary stones at her back. Path to the outer ring there. Open ground to the right. Tree line dense on the left, bad choice. Pool at centre, worst choice. The Grove altered while she mapped it. The standing stones at the boundary no longer stood where they had. She saw only trunks, then more trunks behind them, a thick press of bark where the open route had been. Her torch beam found no gap. “No,” Aurora said again, sharper now. “Pack that in.” The child’s laugh ran around the clearing in a fast loop. Not one throat. Many. A whole ring of them, giggling in breathless little bursts. Flowers trembled. Foxglove bells knocked together with tiny clinks like teeth. Aurora slipped the pendant back under her shirt and seized the chain in one fist to anchor it against her skin. Her left wrist stung where the small crescent scar lay. Old accidents often spoke up around new danger. She drew a pocket knife from her coat, a practical little folding thing she used for twine, tape, stubborn packaging and, once, a tyre valve in Wandsworth. She clicked the blade open. “Fine,” she said into the ring of laughter. “Ground rules. If you are fae, state your bargain. If you are dead, stay dead. If you are something else, pick a lane.” The laughter died in one hard cut. Leaves rustled behind her torch hand. Too low for branches. Too soft for feet. She pivoted. A second figure stood at the edge of the pale circle. This one had a face, after a fashion. Features bulged beneath the skin as if someone had pressed from inside and forgotten the proper arrangement. Two dimples where eyes wanted to be. A ridge for a nose. A soft split twitching across the lower half of its head. It wore Aurora’s height badly, her build badly, and when it lifted one thin arm, it exposed the glint of a silver chain at its throat. Her chain. Aurora’s hand flew to her neck. The pendant still hung there, hot, solid, real. The copy smiled with a mouth that had no lips. Then another Aurora stepped from the trees. Then another. One wore her black hair hanging wet over its shoulders. One had bright blue eyes wide and unblinking in a face too still to be alive. One held up its left wrist and turned it, showing a small crescent scar. Aurora stepped back until stone pressed into her spine. “Cute,” she said, though her mouth had gone dry. “Identity theft. Deeply modern.” The first copy tilted its head. When it spoke, it used her voice with a split-second delay, like a bad call. “Came here for a reason.” Another answered from her right. “Something feels off.” A third from behind the pool. “Builds slowly.” The words from the copies chased one another in broken fragments, phrases clipped from no speech she had made aloud, as if the Grove itself had listened to intentions and mouthed them back. The pool hand tapped the water again. Click. Click. Click. All the copies turned towards the sound at once. So did Aurora. The black water bulged higher. The pale hand kept rising, and with it came an arm, a shoulder, the sleek curve of a head. No splash. No dripping. The thing climbed from the pool as if surfacing through silk. It had the outline of a woman and none of the human weight. Water glazed it in a skin-tight shine. Where its face should have settled, darkness churned instead, a depth deeper than the pool itself. The silver key hung between two fingers. Every false Aurora bowed. The Heartstone went white hot against Aurora’s chest. The thing by the pool lifted the key and pointed it straight at her. The elder trees behind her groaned. Bark split with a crack like bone. A narrow door opened in the trunk, black on black, and cold rolled out of it in a rank wave that smelled of old pennies, river silt and shut rooms. Then a hand, human this time, shot from the dark beyond the door and clamped round Aurora’s wrist.
created_at"2026-03-09T22:45:07.176Z" 3/9/2026, 10:45:07 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency9267
moderation_latency(null)
generation_time74834
tokens_prompt4560
tokens_completion3534
native_tokens_prompt4064
native_tokens_completion2959
native_tokens_completion_images0
native_tokens_reasoning226
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"
usage0.054545
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_08a189ba969bec2e0169af4d7345288193a48f54d9774149a8"
is_byokfalse
latency212
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-1773096307-wFhsZsztUZYr4ZwTKgFH"
upstream_id"resp_08a189ba969bec2e0169af4d7345288193a48f54d9774149a8"
total_cost0.054545
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
94.74% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags8
adverbTagCount1
adverbTags
0"Aurora said again [again]"
dialogueSentences19
tagDensity0.421
leniency0.842
rawRatio0.125
effectiveRatio0.105
93.14% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2188
totalAiIsmAdverbs3
found
0
adverb"sharply"
count1
1
adverb"slowly"
count2
highlights
0"sharply"
1"slowly"
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)
42.87% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2188
totalAiIsms25
found
0
word"pulsed"
count2
1
word"charm"
count1
2
word"silk"
count3
3
word"fluttered"
count1
4
word"silence"
count5
5
word"throbbed"
count1
6
word"sinister"
count1
7
word"weight"
count2
8
word"warmth"
count1
9
word"trembled"
count2
10
word"flicked"
count1
11
word"quivered"
count1
12
word"perfect"
count2
13
word"glint"
count1
14
word"churned"
count1
highlights
0"pulsed"
1"charm"
2"silk"
3"fluttered"
4"silence"
5"throbbed"
6"sinister"
7"weight"
8"warmth"
9"trembled"
10"flicked"
11"quivered"
12"perfect"
13"glint"
14"churned"
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
narrationSentences238
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences238
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences249
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen33
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2188
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
90.62% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions53
wordCount2105
uniqueNames11
maxNameDensity1.19
worstName"Aurora"
maxWindowNameDensity2
worstWindowName"Aurora"
discoveredNames
Aurora25
Fae1
Grove4
Richmond1
Park1
Heartstone3
Hel2
Wandsworth1
Click7
One5
Knock3
persons
0"Aurora"
1"Heartstone"
2"Click"
3"One"
places
0"Fae"
1"Grove"
2"Richmond"
3"Park"
4"Hel"
5"Wandsworth"
globalScore0.906
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences146
glossingSentenceCount2
matches
0"felt like an insult in this place"
1"as if surfacing through silk"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2188
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount3
totalSentences249
matches
0"cursing that vagueness"
1"made that noise"
2"hated that silence"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs100
mean21.88
std23.18
cv1.059
sampleLengths
014
163
28
390
414
539
668
713
830
916
104
1128
1295
1370
149
1520
161
176
1833
1915
203
2132
224
2351
243
2539
265
279
2849
293
3038
312
3283
338
3421
357
365
3722
3822
3920
404
416
4235
4333
446
4534
4650
473
488
4945
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences238
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs330
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences249
ratio0
matches(empty)
92.09% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2110
adjectiveStacks1
stackExamples
0"white hot against Aurora’s"
adverbCount89
adverbRatio0.042180094786729856
lyAdverbCount16
lyAdverbRatio0.007582938388625593
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences249
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences249
mean8.79
std6.59
cv0.75
sampleLengths
014
128
210
325
46
52
622
733
813
910
1012
1114
122
135
1419
157
166
177
181
1917
2033
213
227
2313
247
2516
263
274
287
299
304
319
323
3316
344
3513
369
3712
3822
3913
4022
414
429
4322
4410
4510
466
479
482
495
42.84% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats35
diversityRatio0.3413654618473896
totalSentences249
uniqueOpeners85
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount11
totalSentences204
matches
0"Even her own breathing sounded"
1"Then a third, though nothing"
2"Then the laugh came again,"
3"Too long for a fox."
4"Too smooth for a person."
5"Slowly, with care, it turned"
6"Then it knocked on the"
7"Too low for branches."
8"Too soft for feet."
9"Then another Aurora stepped from"
10"Then a hand, human this"
ratio0.054
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount40
totalSentences204
matches
0"She stopped with one boot"
1"she said into the hush"
2"Their stalks leaned so hard"
3"She thumbed the pendant through"
4"She had spent weeks cursing"
5"She rubbed her thumb against"
6"Her hand went to the"
7"It also felt stupid, broadcasting"
8"She left the torch where"
9"Her delivery work had trained"
10"She had been here before."
11"She turned fast."
12"Her voice held steady."
13"She hated that silence."
14"It felt deliberate."
15"She followed the spiral down"
16"She jerked back."
17"It had no rim, no"
18"Her own voice landed badly."
19"She took the pendant from"
ratio0.196
85.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount153
totalSentences204
matches
0"The pendant burned against Aurora’s"
1"She stopped with one boot"
2"The silver chain bit into"
3"Heat pulsed from the deep"
4"she said into the hush"
5"The Fae Grove had never"
6"Wildflowers usually crowded the edges"
7"The air usually smelled green"
8"Tonight the flowers bent away"
9"Their stalks leaned so hard"
10"Aurora let the stones rest"
11"The Grove had swallowed the"
12"She thumbed the pendant through"
13"The unknown benefactor who had"
14"That was all."
15"She had spent weeks cursing"
16"Aurora crouched and touched the"
17"The soil looked fresh turned,"
18"She rubbed her thumb against"
19"A sound answered her from"
ratio0.75
24.51% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences204
matches
0"Now the Heartstone had dragged"
ratio0.005
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences84
technicalSentenceCount4
matches
0"Wildflowers usually crowded the edges in impossible colour, foxgloves and buttercups and pale blue stars that did not grow in Richmond Park, all of them turning…"
1"Stretches of road that delivered the dead if you crossed the same bridge three times."
2"Features bulged beneath the skin as if someone had pressed from inside and forgotten the proper arrangement."
3"A narrow door opened in the trunk, black on black, and cold rolled out of it in a rank wave that smelled of old pennies, river silt and shut rooms."
62.50% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags8
uselessAdditionCount1
matches
0"she said, though her mouth had gone dry"
97.37% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount1
fancyTags
0"she murmured (murmur)"
dialogueSentences19
tagDensity0.421
leniency0.842
rawRatio0.125
effectiveRatio0.105
90.8559%