Run: 2026-03-18-01KM07D38KB1JBQPNECXKC3JH5

Run Details

Duration:
17.3s
Cost:
$0.015220
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
Rory’s fingers closed around the pendant just as the ground gave a soft, wet sigh beneath her boot. She froze with one foot over the threshold of the grove, one hand braced against the nearest standing stone. The oak bark under her palm felt slick, not with rain, but with a skin-like sheen that made her stomach tighten. The crimson gem at her throat warmed against her collarbone, a small, stubborn pulse that matched the dull throb in her wrist where the old scar ached. “No.” The word came out under her breath as she stared into the clearing. Wildflowers crowded the grass in a pale, restless sea. White, yellow, blue, each bloom too fresh, too clean, as if some unseen hand had combed them into place moments ago. Ancient oaks ringed the grove like sentries. Their trunks twisted up through the dark, thick and knotted, their branches arching over the clearing until the whole place looked caged. Rory stepped fully inside. The world behind her thinned at once. Not vanished. Thinned. The way glass dimmed when breath fogged it. She turned before she could stop herself and saw the shape of the park path through the trees, blurred and far away, as if someone had dragged it backwards through water. The pendant at her throat grew warmer. “Cheers,” she muttered to no one. A leaf brushed her cheek. She flinched hard enough to send her shoulder into the nearest oak. The bark bit through her jacket. Her eyes snapped up. Nothing. No breeze. No birds. No fox rustling through undergrowth. Not even the steady hiss of traffic from beyond Richmond Park. The silence here had weight, a pressed hand over her mouth. Rory slipped her phone from her pocket and checked the screen. One bar, then none, then one again. The lock screen stared up at her with an unreadable black shine. She tapped it once. Nothing. Again. The screen flashed, glitched, and gave her a reflection instead of a display. For a second, she saw someone standing behind her. She spun round so fast her shoe skidded in damp earth. Empty grove. Her heart punched once, hard, then settled into a colder rhythm. She forced herself to breathe through her nose. Slow. Count. Assess. “Brilliant,” she whispered. “Fantastic choice, Rory.” The words sounded wrong in the grove, too small to belong here. She touched the pendant. It sat warm against her skin, a deep crimson spark hidden under her shirt. The unknown benefactor, the anonymous little note, the address scrawled in careful ink, all of it had led here, to the Fae Grove in Richmond Park, with its old stones and its nonsense rules about time and borders and things that smiled at you with too many teeth. The pendant had pulsed once she crossed the outer trees. A Hel portal. That was the theory. One of several. None of them cheerful. She moved deeper into the clearing, boots sinking into moss and root. The air smelled sweet, almost cloying, like crushed petals left too long in a closed room. Under that sweetness lurked something harder to place. Iron, maybe. Or old pennies. Or the metallic tang of fear rising off her own skin. One of the standing stones stood half-hidden behind a curtain of leaves. Rory stopped before it. The oak looked older than the park itself, older than anything that ought to sit in London with a bit of moss on it and a smug expression. Carved into the bark near its base was a knot of symbols she did not recognise. The lines were shallow, recent. Freshly cut. She ran her fingers over them. The wood shivered under her touch. Rory jerked back and stared. The shiver ran upwards through the trunk, a ripple beneath the bark, like something trapped inside had twitched in its sleep. She snatched her hand away and tucked it into her sleeve. “Nope.” A sound answered from the far side of the grove. Not a voice. Not quite. A scrape, thin as a fingernail dragged over stone. Rory turned in place. Her pulse climbed. The standing stones threw long black shapes over the flowers, and between them the shadows looked deeper than they should have, as if someone had cut holes in the ground and left them open. The scrape came again. Closer. Her tongue pressed to the back of her teeth. “I’m not in the mood.” Something shifted beyond the nearest stone. A pale shape, quick and low. She caught only the edge of it, white as peeled bone, then nothing. Her eyes locked on the gap where it had been. A flower bent. Then another. Rory did not move. The pendant at her throat burned with a clear, pinpoint heat. “Hello?” The word left her in a flat line, not a question so much as a dare. No answer. A shape crossed the edge of her sight to the left. She snapped her head round. Empty grass, flowers trembling in a neat little arc, as if something had just knelt there. Her stomach tightened. She made herself look away from the far shadows and back at the stones. That was the trap, if there was one. Let the corners of her vision feed her panic until she stepped where she should not. She kept her chin level and walked. Three steps in, a voice brushed the side of her ear. “Late.” Rory stopped dead. Every muscle in her body locked so hard it hurt. She looked over her shoulder. No one. The voice had been close enough to tickle the hair at her neck. Dry. Old. Amused. She swallowed once. “Show yourself.” A low chuckle came from somewhere above her, and she looked up too fast. Branches knitted together overhead, black limbs snagging at one another. Between them the sky held no stars, just a blank, dark pressure. Something pale and narrow moved along a branch, too quick to resolve. Her pendant flared hot. Rory ripped the chain out from under her shirt and held the pendant in her fist. The crimson stone shone through her fingers with a dim inner glow. Warmth spread across her palm. “Right,” she said to the empty grove. “That’s helpful.” The air changed. It tightened, like a room sealed too long. Rory drew a breath and tasted something bitter, green, and cold. Then she heard it. Footsteps. Not hers. Not close. Deliberate, careful footsteps circling the grove beyond the stones. Soft tread on grass. Pause. Tread again. Someone pacing with patience. Rory went still and listened. One set. Then two. No, not two. One set that split in the middle, the way a broken recording repeats a second late. Tick, tock. Tick, tock. Her jaw set hard. She backed towards the nearest stone, keeping her eyes on the darkness between the trunks. “I know you’re there.” The footsteps stopped. Silence stretched thin, taut as wire. Then a shape moved at the edge of the clearing. Human-sized, but wrong in the way a coat on a chair can look like a person until you stop breathing. It stood half-hidden behind one of the standing stones, too still to be alive and too shaped to be nothing. Rory could not make out its face. Only a pale oval where one should have been, and a line that might have been a smile. Her skin prickled. “Fine,” she said. “We can do this the civilised way.” The shape tilted its head. A second shape stood behind it. Rory’s grip tightened on the pendant until the chain bit into her skin. She had not heard anything approach. Not a leaf, not a twig, not a single betrayed footfall. Her eyes jumped from one shadow to the next. There were more of them now, or maybe there had always been and she only noticed because they wanted her to. The first shape raised an arm. Long fingers unfolded from the dark. Too long. Jointed wrong. The gesture looked almost polite. Rory’s mouth went dry. “Don’t,” she said. The fingers curled once. A branch snapped behind her. Rory whirled, and something brushed past her shoulder with a hiss of displaced air. She spun back and caught a blur at waist height, pale and quick, darting between the flowers. Another shape crossed behind the stones, low and crouched. Then another. Their movement had no rhythm she could follow, no pattern that made sense to a human eye. She backed up again until her spine hit cold bark. The trunk behind her answered with a deep, hollow knock. She whirled, swinging her fist out of instinct. Her knuckles struck nothing. A laugh skimmed her ear, so close she felt it in her teeth. She lashed out again and hit only air and flower stems bending under unseen feet. “Cowards,” she hissed. The clearing went still. A hush settled over the grove so completely that Rory heard the blood in her own ears. She stood pinned between the stones and the trees, pendant hot in her fist, each breath thin and careful. Then the flowers at her feet began to sway. Not in one patch. In a widening circle, as if a body moved beneath them. She looked down. A hand rose from the grass. Rory stumbled back with a shout and slammed against the stone. The hand did not break through flesh or soil. It emerged like a root, pale and slick, fingers spread in the flowers. Another hand followed, then a wrist, then a shoulder that looked almost human until it bent in the middle and pulled more body up after it. Rory fumbled for the knife in her pocket. Her fingers missed the handle once, twice. Her pulse hammered so hard it blurred her sight. The thing in the flowers lifted its head. No face. Just a smooth pale mask where features ought to have been, with a slit opening in its centre like a wound. A voice came from that slit, warm and intimate. “You came back.” Rory went cold all at once. The pendant in her fist gave a strong, eager pulse, as if it had recognised the voice. She stared at the thing and the thing stared back with no eyes. “That’s impossible,” she said. The grove answered with a chorus of soft movement. Flowers bowed. Leaves shuddered. Something went skittering across the stones behind her, nails or claws or both. The faceless thing took a slow step towards her. Rory’s back hit the standing stone hard enough to knock the breath from her lungs. She dragged in air and felt the bark scrape her jacket. The crescent scar on her wrist flared with a pulse of pain. “Get away from me.” The thing smiled without a mouth. The slit opened wider. And a second voice, this one low and breathless and far too familiar, came whispering through the flowers at her feet. “Rory.” Her whole body locked. No. Not here. Not now. Not in this place that bent time and lied with every inch of itself. The voice came again, soft as a hand under her chin. “Laila.” Rory’s vision narrowed to the pale shape rising from the flowers and the dark ring of stones around her and the impossible warmth at her throat. Every instinct screamed at once. Her hand clamped around the pendant. The crimson gem blazed against her palm. The thing in the flowers flinched. So did the shadows. A shriek split the grove, not from the creature in front of her, but from somewhere beyond the trees, high and sharp and furious. The sound ripped through the air like torn silk. The faceless thing jerked upright, its limbs twitching. The figures around the clearing drew back in a sudden, collective recoil. Rory did not wait to learn what had made that noise. She drove the pendant forward. Light burst from the crimson stone, brief and fierce. The thing in the flowers recoiled as if struck. The standing stones shuddered. Rory threw herself sideways at the same instant, ramming her shoulder into the gap between two roots. Pain cracked through her arm. She stumbled, caught herself, and ran. The grove lunged after her. Branches whipped down and clawed at her hair. Flowers tore under her boots. Something cold and wet slapped against her ankle, fingers tightening. Rory kicked hard, heard a crack, and kept moving. She plunged between two stones where the dark felt denser, thicker, wronger than the rest. The air itself seemed to fold around her. Behind her, the voice shouted from the clearing, split into several mouths at once. “Stay.” Rory barreled through the narrowing gap, the pendant burning in her fist, and the world on the other side snapped open with a sound like glass breaking. She landed on her knees in mud that smelled of petrol and rot, one hand still trapped around the crimson stone, and when she looked up the grove had changed its shape entirely.
created_at"2026-03-18T10:21:02.65Z" 3/18/2026, 10:21:02 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency406
moderation_latency(null)
generation_time17119
tokens_prompt4560
tokens_completion3272
native_tokens_prompt4064
native_tokens_completion2705
native_tokens_completion_images0
native_tokens_reasoning0
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"
usage0.0152205
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_042b16efdb97e2970169ba7c8ec1c48193beff2c72b541e12d"
is_byokfalse
latency188
model_permaslug"openai/gpt-5.4-mini-20260317"
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-1773829262-exBpckgdkP8TziRFmKlF"
upstream_id"resp_042b16efdb97e2970169ba7c8ec1c48193beff2c72b541e12d"
total_cost0.0152205
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags8
adverbTagCount0
adverbTags(empty)
dialogueSentences22
tagDensity0.364
leniency0.727
rawRatio0
effectiveRatio0
97.69% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2162
totalAiIsmAdverbs1
found
0
adverb"completely"
count1
highlights
0"completely"
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)
49.12% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2162
totalAiIsms22
found
0
word"stomach"
count2
1
word"pulse"
count5
2
word"throb"
count1
3
word"silence"
count2
4
word"weight"
count1
5
word"unreadable"
count1
6
word"pulsed"
count1
7
word"resolve"
count1
8
word"warmth"
count2
9
word"footsteps"
count3
10
word"footfall"
count1
11
word"familiar"
count1
12
word"silk"
count1
highlights
0"stomach"
1"pulse"
2"throb"
3"silence"
4"weight"
5"unreadable"
6"pulsed"
7"resolve"
8"warmth"
9"footsteps"
10"footfall"
11"familiar"
12"silk"
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
narrationSentences242
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences242
filterMatches
0"look"
hedgeMatches
0"began to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences256
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen48
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2162
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions7
unquotedAttributions0
matches(empty)
90.95% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions38
wordCount2117
uniqueNames8
maxNameDensity1.18
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Richmond2
Park2
Fae1
Grove1
Hel1
London1
Rory25
One5
persons
0"Rory"
places
0"Richmond"
1"Park"
2"Fae"
3"Grove"
4"London"
5"One"
globalScore0.91
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences143
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.925
wordCount2162
matches
0"not with rain, but with a skin-like sheen"
1"not from the creature in front of her, but from somewhere beyond the trees, high"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences256
matches
0"made that noise"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs124
mean17.44
std17.76
cv1.019
sampleLengths
018
167
21
313
459
54
67
749
86
95
1022
111
1231
1349
149
1511
162
1722
186
1912
2066
2110
223
2311
2452
2567
266
276
2826
2912
3010
3114
3241
334
341
3514
3635
373
382
3915
4017
412
4232
4341
447
4511
461
4718
482
4916
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences242
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs323
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences256
ratio0
matches(empty)
94.55% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2120
adjectiveStacks0
stackExamples(empty)
adverbCount98
adverbRatio0.04622641509433962
lyAdverbCount8
lyAdverbRatio0.0037735849056603774
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences256
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences256
mean8.45
std6.94
cv0.822
sampleLengths
018
119
221
327
41
513
69
721
87
922
104
117
122
131
148
1531
167
176
185
1912
206
214
221
232
242
255
2611
2711
2811
297
3012
314
321
331
3413
359
3611
372
3811
398
401
411
421
433
443
4512
464
4714
4848
4910
46.09% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats17
diversityRatio0.31640625
totalSentences256
uniqueOpeners81
84.18% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences198
matches
0"Then she heard it."
1"Then a shape moved at"
2"Only a pale oval where"
3"Then the flowers at her"
4"Just a smooth pale mask"
ratio0.025
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount53
totalSentences198
matches
0"She froze with one foot"
1"Their trunks twisted up through"
2"She turned before she could"
3"she muttered to no one"
4"She flinched hard enough to"
5"Her eyes snapped up."
6"She tapped it once."
7"She spun round so fast"
8"Her heart punched once, hard,"
9"She forced herself to breathe"
10"She touched the pendant."
11"It sat warm against her"
12"She moved deeper into the"
13"She ran her fingers over"
14"She snatched her hand away"
15"Her pulse climbed."
16"Her tongue pressed to the"
17"She caught only the edge"
18"Her eyes locked on the"
19"She snapped her head round."
ratio0.268
48.38% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount163
totalSentences198
matches
0"Rory’s fingers closed around the"
1"She froze with one foot"
2"The oak bark under her"
3"The crimson gem at her"
4"The word came out under"
5"Wildflowers crowded the grass in"
6"Their trunks twisted up through"
7"Rory stepped fully inside."
8"The world behind her thinned"
9"The way glass dimmed when"
10"She turned before she could"
11"The pendant at her throat"
12"she muttered to no one"
13"A leaf brushed her cheek."
14"She flinched hard enough to"
15"The bark bit through her"
16"Her eyes snapped up."
17"The silence here had weight,"
18"Rory slipped her phone from"
19"The lock screen stared up"
ratio0.823
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences198
matches(empty)
ratio0
86.68% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences89
technicalSentenceCount7
matches
0"The crimson gem at her throat warmed against her collarbone, a small, stubborn pulse that matched the dull throb in her wrist where the old scar ached."
1"White, yellow, blue, each bloom too fresh, too clean, as if some unseen hand had combed them into place moments ago."
2"The unknown benefactor, the anonymous little note, the address scrawled in careful ink, all of it had led here, to the Fae Grove in Richmond Park, with its old …"
3"The oak looked older than the park itself, older than anything that ought to sit in London with a bit of moss on it and a smug expression."
4"The standing stones threw long black shapes over the flowers, and between them the shadows looked deeper than they should have, as if someone had cut holes in t…"
5"Empty grass, flowers trembling in a neat little arc, as if something had just knelt there."
6"Their movement had no rhythm she could follow, no pattern that made sense to a human eye."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags8
uselessAdditionCount0
matches(empty)
13.64% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount3
fancyTags
0"she muttered (mutter)"
1"she whispered (whisper)"
2"she hissed (hiss)"
dialogueSentences22
tagDensity0.318
leniency0.636
rawRatio0.429
effectiveRatio0.273
87.0427%