Run: 2026-03-09-01KKACD2SDSXBTJBT4XBYFNM4T

Run Details

Duration:
1m 12s
Cost:
$0.047469
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Mystery 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="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <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> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</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 mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. 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
“Hold that line. Nobody steps past the third pillar.” Detective Harlow Quinn ducked under the sagging police tape before the constable could repeat the warning to her. Her boots crunched over old glass and fresh grit. The tunnel beyond the platform breathed up a smell of rust, damp brick, stale smoke, and something sweeter underneath, like rotting figs left in a hot cupboard. Not a good smell. Not London, either. Not any bit of London she trusted. The old station lay beneath Camden, forgotten by the map and remembered only by vandals, squatters, and people with reasons to stay off record. Tiles peeled from the curved walls in scabbed patches. A dead escalator shaft yawned at one end, packed with darkness and wire. At platform level, someone had strung bare bulbs between iron columns. Half of them had burst. The unbroken ones cast a jaundiced light over the scene, over the body, over a scatter of tables and folding chairs that had no business standing in an abandoned Tube station. A market. Or the bones of one. Her left wrist buzzed with the tiny shift of her worn leather watch against her skin as she crouched beside the nearest trestle. Melted candle wax puddled across the wood. Not cheap paraffin. This wax held a faint herbal tang, wormwood and cloves. Under the table sat a crate full of stoppered bottles wrapped in newspaper from three different countries. “Uniforms found this lot twenty minutes ago,” said DS Colin Mercer behind her. “Looks theatrical, doesn’t it?” Mercer always sounded as if the world had disappointed him in advance. Mid-thirties, broad shoulders, tie already loosened, he treated every odd detail as proof that people were daft rather than dangerous. Quinn straightened and looked past him to the corpse. A man lay on his side near the platform edge with one arm crooked under his chest, as if he had gone down hard and never managed the next breath. Late forties. Expensive coat, city shoes, cufflinks. Blood had dried black at the corner of his mouth. His face had turned towards the tracks in a posture that looked less like collapse than obedience. “Name?” “Graham Vale. Solicitor.” Mercer flicked open his notebook. “Reported missing by chambers yesterday. Wife said he left the house after a call. Phone’s gone. Wallet’s still on him. No visible stab wounds, no gunshot. Doc says possible cardiac arrest. We get odd scenes sometimes, Harlow. People come down here for raves, for drugs, for whatever freak hobby keeps them from bowling clubs.” Quinn walked around the body without touching it. “Cardiac arrest doesn’t string lightbulbs in a disused station.” “His friends could.” “Then where are they?” Mercer spread a hand at the platform. “Ran when they heard boots.” That part fit too neatly, and she disliked neat. A SOCO photographer crouched near the tracks and snapped a burst of shots. The flash washed the station white for a beat, then gave it back to the shadows. Quinn let her gaze travel. Chairs knocked over, yes. One table split. A few bottles smashed. Yet the wreckage looked selective. The best panic was ugly and stupid. This felt edited. She crouched by the dead man. Vale’s coat sleeve had ridden back. Fine grey dust coated the cuff, but not the elbow. Dust on the right shoe, not the left. The soles had barely picked up the black grime caked along the platform. “Who moved him?” “Nobody.” She glanced up. Mercer frowned. “What?” “His right shoe has station dust. His left doesn’t. If he walked in here, both shoes should match. If he fell here, that cuff should be dirtier. Someone placed him on this side after contact.” “Or he stepped in something before he got here.” “Then show me the something.” Mercer looked at the floor and said nothing. Quinn leaned closer to Vale’s hand. His fingers had clenched around a small brass object half hidden by his palm. Verdigris ringed the hinge. Its face showed no cardinal points, only a crowded circle of etched marks she did not know but disliked on sight. She took out a pen, used the tip to ease the object free, then opened it with her gloved thumb. A compass. The needle spun so fast it blurred. Mercer gave a short laugh. “Novelty shop tat.” “Novelty shops print north.” “This place is Camden adjacent. It’s all novelty.” Quinn held the little brass compass level. The needle juddered, spun again, then pulled hard towards the tunnel wall behind the platform, not towards the tracks, not towards any sensible direction. Protective sigils, if that was what the marks were, ringed the face in tight, deliberate cuts. Not stage work. Not the lazy fake occult nonsense she had seen in student basements and murder houses designed for headlines. She closed the lid and slipped it into an evidence bag. “Bag that separately.” “On what grounds?” “On the grounds that I said so.” Mercer’s mouth tightened. He wrote the note. A constable approached from the stairs, breathless, carrying a plastic tub. “Found in the ticket hall, ma’am. Under the old machine.” Inside the tub sat a token the colour of old ivory. Round. Flat. One side bore a carved eye. The other had been burned black at the edge. Quinn took the tub. Bone, she thought at once. Too porous for plastic, too warm in colour for resin. A token in a dead station fitted the scene too well to be random, which made it worse. “Anybody else touch this?” “Just me with gloves.” Mercer peered over her shoulder. “Could be from a costume set.” “Could be,” Quinn said, though his tone had done the work. Dismiss, reduce, move on. He had that habit. It kept men comfortable and cases blind. She handed the tub back, then stood very still. The station had gone quiet in the way certain places did when attention itself became a sound. No dripping water. No mutter from uniforms. Even the camera clicks had paused. She turned slowly. At the far end of the platform, near a tiled wall painted over with old adverts, stood three iron hooks bolted into brick. One held a torn length of black fabric. Another held nothing. Beneath them, the dust showed a clean rectangle on the floor where something heavy had sat until recently. A stall. Removed in haste. She crossed the platform. Her stride stayed measured, military neat, but Mercer had to lengthen his pace to keep up. “You’ve got a death in a squat market,” he said. “A dealer meet, a bad batch, a rich punter keels over. That’s your shape. You don’t need séance objects.” “The bulbs are powered.” He blinked. “Sorry?” She pointed up. “Powered. Fresh wiring. New copper run along old conduit. Not done by squatters with a car battery. Look at the cable clips, evenly spaced. Look at the switch box, labelled in red pencil. Someone invested in this site.” Mercer followed her gaze. “All right. Organised trespass.” “And these tables were folded and stacked before some were knocked over. See the leg marks? Parallel. Efficient. Not a rave.” She stopped at the clean rectangle and crouched. The floor here carried a slick smear that had caught in the grout between tiles. She touched near it, not on it. Sticky still. “Not blood,” Mercer said. “No.” She lifted her fingers. A faint silver sheen clung to the glove. “Mercury?” “Too thick.” She sniffed the air over it and caught cold metal, bitter herbs, a sharp medicinal note. “Get forensics to sample this before anyone walks through it.” Mercer looked down the platform, then back to her. “You’re building a cathedral out of clutter.” “No. I’m looking at what doesn’t fit.” She rose and moved to the wall behind the rectangle. The tiled surface looked solid until she noticed the hairline break in the grout, a vertical seam disguised by grime. She pressed her fingertips to one side. Cold tile. Then a faint vibration. Not from trains. This line had been dead for decades. “Did uniforms search beyond here?” “There is no beyond there.” She took the evidence bag with the compass from the nearest crate, opened it again, and held the brass case before the wall. The needle snapped towards the seam and hammered against the glass. Mercer exhaled through his nose. “Magnets. Hidden cables.” “Then the cables move.” She tracked the needle left, then down. It quivered over a cracked cream tile painted with a faded black arrow. Not part of the station original. Too crude. Too recent. She knelt and ran her hand along the lower edge until her fingers found a notch. “Pry bar.” Mercer stared at her for one beat, then signalled a constable. Tools came. The first pull slipped. The second cracked grout. On the third, the tile panel shifted inward with a stony groan that sent a little shower of dust across Quinn’s sleeve. Behind it lay a narrow passage cut between old service walls. The smell hit first. Incense. Hot metal. Wet soil. And beneath it, fresh blood. Mercer’s face changed. Not much, but enough. “Well,” he said softly, “that’s less theatrical.” Quinn took a torch from her belt and stepped through before anyone could stop her. The hidden passage sloped down for six feet, then opened into a service chamber wide enough to hold six stalls side by side. Shelves lined the walls. Most stood stripped bare, but not empty. Black feathers stuck in a drain. A spill of dried yellow petals marked one corner. Hooks dangled from a ceiling beam. Chains lay cut on the floor. Chalk symbols circled a central patch of concrete, and this time she did not need Mercer’s scepticism to know they were not decorative. Whoever drew them had repeated each line with a steady hand until the chalk bit deep. A body hung from the far wall. Not fully. Not neatly. The victim had sagged where the bindings gave way. A woman in a porter’s high-vis jacket, throat opened so cleanly it looked surgical until the torchlight caught the ragged bruising beneath. Her eyes had been covered with pennies. Mercer swore. “No missing solicitor died of fright,” Quinn said. He stepped to her side now, all his flippancy gone. “Two scenes. Public and private.” “One false, one real.” She swept the torch across the chamber. A smashed glass cabinet glittered in the corner. Several little labels still clung to the shelves in a tidy script. Teeth. Ash. Salt. Names had been scratched off another row. The victim’s jacket pocket bulged. Quinn reached in and pulled out a folded receipt book page. Thick cream paper. No shop name. No address. A list of items in cramped ink: Veil passage, two Shade-work compass, one Memory silk, one yard Paid in bone Mercer read over her shoulder. “Paid in bone?” Quinn held up the page. “Our token.” His jaw worked. “What in God’s name was this place?” Before she answered, her torch found wheel marks on the floor. Handcart tracks, recent, heading deeper through another archway at the back. Someone had cleared out in a rush, but not blind. They took inventory. They left one body in plain sight and one hidden. One death to explain the other away. A market, she thought. Not the sort licensed by council paperwork. From above, muffled through brick and tile, came the stomp of hurried boots. Then a shout. “Ma’am!” The cry cut off with a wet thud. Quinn spun. Mercer had already drawn his torch like a weapon, instinct outrunning sense. Another sound followed, closer now, skittering along the hidden passage wall. Not footsteps. Nails. Too many, too fast, a patter and scrape that made the skin on Quinn’s neck tighten. The brass compass in her hand began to spin again, violent enough to rattle the glass. Mercer heard it and looked at her, then at the dark mouth of the passage. “What the hell is coming down here?” Something slammed into the tile panel above them. The wall shook. Dust burst from the seam. A second impact hit harder, then a third, and on the fourth blow the panel cracked clean through the middle. A pale hand thrust into the hole from the other side, fingers slick with blood, clutching at air. Then another hand seized the edge from above, not pale at all but blackened, long-nailed, and strong enough to tear the opening wider in one savage wrench.
created_at"2026-03-09T22:45:07.517Z" 3/9/2026, 10:45:07 PM
model"openai/gpt-5.4-20260305"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency10023
moderation_latency(null)
generation_time71978
tokens_prompt4671
tokens_completion3430
native_tokens_prompt4157
native_tokens_completion3067
native_tokens_completion_images0
native_tokens_reasoning375
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"
usage0.0474695
router(null)
provider_responses
0
endpoint_id"9ff5625c-403f-4d7f-b895-58ac7295062c"
id"resp_07311dce6904fd710169af4d7399fc819493c92076834e8fff"
is_byokfalse
latency221
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-lCA6UVQYoPS9Ul978oLy"
upstream_id"resp_07311dce6904fd710169af4d7399fc819493c92076834e8fff"
total_cost0.0474695
cache_discount0.008928
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags6
adverbTagCount1
adverbTags
0"he said softly [softly]"
dialogueSentences55
tagDensity0.109
leniency0.218
rawRatio0.167
effectiveRatio0.036
92.77% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2076
totalAiIsmAdverbs3
found
0
adverb"very"
count1
1
adverb"slowly"
count1
2
adverb"softly"
count1
highlights
0"very"
1"slowly"
2"softly"
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)
80.73% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2076
totalAiIsms8
found
0
word"flicked"
count1
1
word"etched"
count1
2
word"comfortable"
count1
3
word"measured"
count1
4
word"efficient"
count1
5
word"quivered"
count1
6
word"silk"
count1
7
word"footsteps"
count1
highlights
0"flicked"
1"etched"
2"comfortable"
3"measured"
4"efficient"
5"quivered"
6"silk"
7"footsteps"
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
narrationSentences197
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences197
filterMatches
0"watch"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences245
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen54
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2076
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions53
wordCount1686
uniqueNames14
maxNameDensity1.25
worstName"Mercer"
maxWindowNameDensity2.5
worstWindowName"Mercer"
discoveredNames
Harlow1
Quinn15
London2
Camden1
Tube1
Colin1
Mercer21
Vale2
Dismiss1
Veil1
Shade-work1
Memory1
Paid1
One4
persons
0"Harlow"
1"Quinn"
2"Camden"
3"Colin"
4"Mercer"
5"Vale"
6"Dismiss"
places
0"London"
1"One"
globalScore0.877
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences114
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.963
wordCount2076
matches
0"Not much, but enough"
1"not pale at all but blackened, long-nailed"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences245
matches
0"had that habit"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs109
mean19.05
std21.12
cv1.109
sampleLengths
09
154
214
393
47
560
617
732
89
964
101
1162
128
139
143
154
1612
179
1860
1943
203
211
223
233
2435
259
265
278
2865
292
307
318
324
338
3468
3511
363
373
387
397
4011
4110
4228
4337
444
454
4611
4726
489
4933
98.14% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences197
matches
0"were, ringed"
1"been burned"
2"been covered"
3"been scratched"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs273
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences245
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1690
adjectiveStacks0
stackExamples(empty)
adverbCount56
adverbRatio0.033136094674556214
lyAdverbCount11
lyAdverbRatio0.00650887573964497
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences245
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences245
mean8.47
std7.35
cv0.867
sampleLengths
09
118
29
327
44
53
67
724
89
913
1011
115
1231
132
145
1523
167
173
1810
1917
2013
214
2212
2320
249
2530
262
275
2810
2917
301
318
3254
338
349
353
364
377
385
399
4013
4116
425
434
443
454
465
477
483
496
66.80% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.4326530612244898
totalSentences245
uniqueOpeners106
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences168
matches
0"Too porous for plastic, too"
1"Even the camera clicks had"
2"Then a faint vibration."
3"Then a shout."
4"Too many, too fast, a"
5"Then another hand seized the"
ratio0.036
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount34
totalSentences168
matches
0"Her boots crunched over old"
1"Her left wrist buzzed with"
2"His face had turned towards"
3"She crouched by the dead"
4"She glanced up."
5"His fingers had clenched around"
6"Its face showed no cardinal"
7"She took out a pen,"
8"She closed the lid and"
9"He wrote the note."
10"He had that habit."
11"It kept men comfortable and"
12"She handed the tub back,"
13"She turned slowly."
14"She crossed the platform."
15"Her stride stayed measured, military"
16"She pointed up."
17"She stopped at the clean"
18"She touched near it, not"
19"She lifted her fingers."
ratio0.202
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount119
totalSentences168
matches
0"Detective Harlow Quinn ducked under"
1"Her boots crunched over old"
2"The tunnel beyond the platform"
3"The old station lay beneath"
4"Tiles peeled from the curved"
5"A dead escalator shaft yawned"
6"Half of them had burst."
7"The unbroken ones cast a"
8"Her left wrist buzzed with"
9"This wax held a faint"
10"Mercer always sounded as if"
11"Quinn straightened and looked past"
12"A man lay on his"
13"Blood had dried black at"
14"His face had turned towards"
15"Mercer flicked open his notebook"
16"Quinn walked around the body"
17"Mercer spread a hand at"
18"That part fit too neatly,"
19"A SOCO photographer crouched near"
ratio0.708
59.52% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences168
matches
0"Whoever drew them had repeated"
1"Before she answered, her torch"
ratio0.012
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences66
technicalSentenceCount3
matches
0"The unbroken ones cast a jaundiced light over the scene, over the body, over a scatter of tables and folding chairs that had no business standing in an abandone…"
1"Mid-thirties, broad shoulders, tie already loosened, he treated every odd detail as proof that people were daft rather than dangerous."
2"A man lay on his side near the platform edge with one arm crooked under his chest, as if he had gone down hard and never managed the next breath."
41.67% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags6
uselessAdditionCount1
matches
0"Quinn said, though his tone had done the work"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount0
fancyTags(empty)
dialogueSentences55
tagDensity0.091
leniency0.182
rawRatio0
effectiveRatio0
94.0991%