Run: 2026-03-18-01KM07K43CGGQ24JV0ZN6C2BBE

Run Details

Duration:
15.3s
Cost:
$0.012803
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Romance 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> <character id="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. 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
Three deadbolts gave way under a harsh, impatient rattle, then the front door lurched inward. Aurora Carter caught it with both hands before it could slam into the bookcase behind her. A draft of Brick Lane corridor air slipped past her, carrying curry, damp wool, and the metallic sting of the stair rail. She planted her shoulder against the wood and stared at the man in the doorway. Lucien Moreau filled the frame like he had no business standing in a narrow East London hall, all charcoal tailoring, pale hair slicked back, ivory cane tucked against one hip. One amber eye, one black. A split gaze that used to land on her mouth before it ever reached her face. His attention did exactly that now. “Still living above chaos,” he said. Rory tightened her grip on the door and refused to step back. “You broke in by ringing a bell?” “Three locks on a front door and a cat that looks prepared to murder. I came to the sensible conclusion that announcing myself would only be polite, not safe.” Behind her ankle, Ptolemy wound round in a slow, offended circle and hissed at Lucien’s polished shoes. “Get out.” His mouth twitched. Not a smile. Not forgiveness. Just the old, dangerous amusement he wore like a second collar. “Let me in first.” “No.” He lifted one hand, palm out, and held her gaze. “Aurora.” The name landed wrong. Too soft. Too full of old nights, old hands, old lies that had tasted close enough to truth to become a habit. Her wrist burned beneath her sleeve, the small crescent scar catching against her pulse as she shifted her hand on the door. “You don’t get to turn up here after four months and sound patient.” “Four months, twelve days. But who’s counting?” “Not me.” “You are.” His gaze dropped, fast and precise, to the line of her mouth. “You always count everything.” She almost laughed. Instead she leaned harder into the door until the hinges complained. “Why are you here?” Lucien’s cane tapped once against the floorboards. Once. Twice. A neat little percussion that did nothing to calm the nerve crawling up her spine. “May I come in, or do you prefer we discuss my secrets in the corridor where any resident with a death wish can listen?” “Your secrets are not my problem.” That got a real smile, thin and bright and cruel at the edges. “That was never the arrangement.” Ptolemy made a low, possessive noise and pressed against Rory’s shin. She glanced down, then back up, and found Lucien watching the cat with the same concentration he usually reserved for locks, ledgers, and people who owed dangerous men money. “Say what you came to say,” she snapped. His expression changed. Barely. A click in the mechanism. “I need a place to speak without being overheard.” “You need an office.” “I need your flat.” “No.” He stepped forward. Rory caught the scent of cold spice and expensive soap before she realised how close he had come. Too close. Her pulse hit hard in her throat. He lowered his voice. “They followed me.” Her hand on the door went rigid. “Who?” “People with no interest in introductions.” The corridor behind him looked empty, but silence meant nothing in London. It never had. Rory checked the stairwell without moving her head, then hooked her fingers into the door edge and opened it another inch. Lucien’s amber eye flicked over her face, reading the crack in her composure with insulting ease. She hated that. She hated that she remembered exactly how his mouth used to curve when he won an argument, and how it felt to lose one of those arguments on her knees with his hand at the back of her neck. “Inside,” she said. He crossed the threshold with infuriating calm, cane clicking against the floorboards, and Ptolemy bolted under the sofa with an indignant growl. Rory shut the door, slid the first deadbolt home, then the second. Lucien watched each movement. “Still mistrustful,” he said. “Still alive.” “Only just, if your housekeeping is an indicator.” She snorted despite herself and tossed the chain into place. The flat looked as cramped as ever, with books stacked on the coffee table, research notes spread across the kitchen counter, and a half-open folder near the sink covered in Eva’s cramped handwriting. Scrolls lay in careful piles beside paperbacks with cracked spines. A chipped mug sat by the kettle, stained with dried tea. The place smelled of paper, old ink, and the curry from downstairs seeping through the floorboards. Lucien took it in with one slow sweep, and something in his face sharpened. “Still working with your little occult library.” “Still calling it little when it could bury you.” He angled the cane against the wall and removed his gloves with deliberate ease. “Where is Eva?” “At work.” “At this hour?” Rory’s stare went flat. “You came here unannounced and you’re judging someone else’s schedule?” “Touché.” He moved past her towards the centre of the room, paused at the nearest stack of books, then stopped when she planted a hand on his forearm. “Don’t touch anything.” His gaze dropped to her fingers. Her skin tingled where it met his sleeve, as if the suit held a charge. He looked up again, and for one ugly second the old ache in her chest tried to rise and become a voice. Instead she let go. Lucien glanced at the table, where a spread of newspaper clippings and hand-copied notes sat beside a brass charm and a broken black thread. “You’ve been busy.” “You always did love understatement.” “Someone asked me to find a stolen item.” She folded her arms. “And that journey brought you to my door.” “Partially.” “Partially?” He reached into his inner pocket and drew out a folded piece of cream paper, then set it on the table without letting go. “This was left at the scene.” Rory eyed it, then him. “Open it.” He gave a faint incline of his head. “Since you asked so charmingly.” “Lucien.” He unfolded the paper. Inside lay a single line of writing in sharp, slanted letters. Return what was taken, or she bleeds. Rory’s mouth went dry. The room seemed to contract around the note. Ptolemy emerged from under the sofa with his tail puffed, then circled the table once, uneasy. Lucien watched her, not the paper. “Whose blood?” she said. “That depends on who reads the message.” She reached for the note. He lifted his hand just out of reach. “Don’t,” he said. Her eyes snapped to his face. “Give it here.” “There’s residue on the page.” Her hand froze. Lucien tilted the note to the light. “Ink, salt, and something that still clings to the paper. It burned through my gloves.” Rory stared at him. “You touched it bare-handed?” “I am not, despite rumours, made of paper.” “You arrogant-” His mouth cut into a sharper line. “Look at the underside.” She snatched the note from him before he could stop her. The paper felt warm. Not from his hand. From something else, something unpleasant that lived just under the fibres. She flipped it over. A smear marked the back, dark and glossy, almost invisible against the cream until her lamp caught it. Not ink. Blood. Her stomach tightened. “That’s fresh.” “Yes.” “It can’t be fresh.” “Yet here we are.” She looked up. “Who is she?” Lucien’s face didn’t change, but something in the air between them shifted. A measured, dangerous pause. “That,” he said, “is the question.” Rory’s fingers curled around the note until the edges bit into her skin. “You came here because you need me to identify blood?” “I came here because your flat sits above the one place in London where people ask inconvenient questions and keep breathing afterwards.” “A compliment from you.” “Don’t sound so surprised.” She barked a short laugh that held no humour. “I’m not letting you turn my kitchen into one of your little crime scenes.” “Your kitchen is already a crime scene. There’s a crust on that plate that appears to have fossilised.” She crossed the room in two quick strides, seized the plate from the sideboard, and set it in the sink with enough force to make the metal ring. Lucien’s gaze followed the movement with infuriating interest. “You always did get loud when cornered.” “And you always did enjoy it.” The words came out before she could stop them. Silence hit the room and stayed there. Ptolemy chose that moment to jump onto the chair, tail twitching, and glare from a safe distance. Rory turned her face away, furious at herself for the heat climbing up her neck. Lucien, of course, noticed. “Still as direct as ever,” he said. “Not my fault your ego fits in my mouth.” That earned her a real exhale, one that might have been a laugh in a different life. He set his fingertips on the table near the note, careful not to touch the blood again. “The item taken belonged to someone with enough influence to disappear two people before breakfast. A broker contacted me. Paid well. Used the wrong name, which offended me. I took the job anyway.” “Because you were bored.” “Because the man lied.” “Same thing.” “Not at all.” She leaned back against the counter and studied him. Tailored suit. Pale hair too controlled to be accidental. Cane, blade hidden in the handle. Clean lines masking violence. Lucien always looked like a threat offered as a luxury. “You don’t come here unless it’s profitable,” she said. “That is not entirely true.” Rory’s jaw tightened. “Don’t.” His eyes fixed on hers. “Someone used your name.” The room went still enough that she heard the radiator tick in the wall. “What name?” One black eye, one amber, neither blinking. “Laila.” The floor seemed to shift under her feet. No one had used that name in months. Not since London had swallowed the last place she’d heard it and spat her out with blood in her mouth and Evan’s handprint on her wrist. Not since she’d promised herself she would bury that version of her and let the dirt settle. Lucien watched every flicker cross her face. “That’s not funny.” “I wasn’t aiming for humour.” She folded her arms tighter. “Who said it?” “A woman in a red coat outside St Bartholomew’s. She asked after Laila Carter and left before I could ask what business she had with a dead name.” Her heartbeat slammed once, hard enough to sting behind her eyes. “You should have followed her.” “I did.” That pulled her attention sharp. “And?” “And she knew I would.” Rory pushed away from the counter. “You are enjoying this.” “No.” He rested a hand on the cane handle. “I am concerned.” She laughed then, but it came out brittle. “You? Concerned?” His gaze drifted to her wrist. Not the note. Her wrist. The crescent scar flashed white where her sleeve had ridden up. He noticed everything, which meant he also noticed the tiny movement of her hand covering it. “I don’t enjoy seeing your name attached to blood,” he said. Something low and vicious tightened in her chest. She hated how much that line mattered. “Get out.” Lucien didn’t move. “Rory.” She hated when he used that name like a hand at the small of her back. Familiar. Possessive. Assured of permission he no longer had. “Leave,” she said. He took one step closer instead. The space between them vanished with obscene speed. “You haven’t asked the question that matters.” “I’ve asked plenty.” “No.” His voice dropped. “The one about why I came here and not to anyone else.” Her breath caught, shallow and angry. Ptolemy growled from the chair. The sound filled the flat, a low warning threaded through the silence. Lucien reached into his coat again and withdrew a second object, small and dark, wrapped in a handkerchief. He placed it in her open palm before she could refuse. It was a key. Old brass. Cold enough to bite. Rory stared at it, then at him. “What is this?” “The lock to the address on the note.” “You went there.” “Of course I went there.” “What else did you find?” He looked at her hand around the key, then back at her face. “A body.” The word hit like a blow. Her fingers closed hard around the brass, and the crescent scar on her wrist pulled tight under her skin. Lucien’s expression remained composed, but his posture changed by a fraction, all predatory stillness and controlled violence. “And the body,” he said, “was waiting with your name in its mouth.”
created_at"2026-03-18T10:24:20.103Z" 3/18/2026, 10:24:20 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency472
moderation_latency(null)
generation_time15056
tokens_prompt4556
tokens_completion3489
native_tokens_prompt4075
native_tokens_completion2742
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached3840
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"
usage0.01280325
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_0de180be1358d0b60169ba7d542c3c8190afddf21e0a71af84"
is_byokfalse
latency256
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-1773829460-kLI6CtVgvc7bubZQnSLv"
upstream_id"resp_0de180be1358d0b60169ba7d542c3c8190afddf21e0a71af84"
total_cost0.01280325
cache_discount0.002592
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
totalTags15
adverbTagCount1
adverbTags
0"His gaze dropped fast [fast]"
dialogueSentences110
tagDensity0.136
leniency0.273
rawRatio0.067
effectiveRatio0.018
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2115
totalAiIsmAdverbs0
found(empty)
highlights(empty)
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
71.63% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2115
totalAiIsms12
found
0
word"lurched"
count1
1
word"pulse"
count2
2
word"silence"
count3
3
word"flicked"
count1
4
word"charm"
count1
5
word"stomach"
count1
6
word"measured"
count1
7
word"flicker"
count1
8
word"familiar"
count1
highlights
0"lurched"
1"pulse"
2"silence"
3"flicked"
4"charm"
5"stomach"
6"measured"
7"flicker"
8"familiar"
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
narrationSentences163
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences163
filterMatches(empty)
hedgeMatches
0"tried to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences258
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen39
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2115
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions25
unquotedAttributions0
matches(empty)
90.24% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions48
wordCount1506
uniqueNames11
maxNameDensity1.2
worstName"Lucien"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Carter1
Brick1
Lane1
Moreau1
East1
London3
Rory14
Ptolemy6
Lucien18
Eva1
Evan1
persons
0"Carter"
1"Moreau"
2"Rory"
3"Ptolemy"
4"Lucien"
5"Eva"
6"Evan"
places
0"Brick"
1"Lane"
2"East"
3"London"
globalScore0.902
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences99
glossingSentenceCount1
matches
0"looked like a threat offered as a luxury"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2115
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount5
totalSentences258
matches
0"hated that she"
1"chose that moment"
2"used that name"
3"bury that version"
4"used that name"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs160
mean13.22
std13.22
cv1
sampleLengths
015
153
251
36
46
519
629
717
82
919
104
111
1211
1326
1435
157
162
1718
1818
1924
2024
216
2218
2340
248
259
269
274
284
291
3030
317
328
336
3436
3558
363
3738
384
392
408
4180
4214
437
449
4517
462
473
4814
491
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences163
matches
0"was taken"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs260
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences258
ratio0
matches(empty)
99.61% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1508
adjectiveStacks0
stackExamples(empty)
adverbCount61
adverbRatio0.04045092838196287
lyAdverbCount5
lyAdverbRatio0.0033156498673740055
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences258
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences258
mean8.2
std6.99
cv0.853
sampleLengths
015
116
222
315
430
55
616
76
86
912
107
1129
1217
132
143
153
162
1711
184
191
2010
211
224
232
2420
2522
2613
277
282
2914
304
313
3211
334
347
351
361
3715
3824
396
4013
415
4211
4329
448
453
461
475
489
494
44.96% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.29457364341085274
totalSentences258
uniqueOpeners76
96.62% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences138
matches
0"Just the old, dangerous amusement"
1"Too full of old nights,"
2"Instead she leaned harder into"
3"Instead she let go."
ratio0.029
57.68% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount56
totalSentences138
matches
0"She planted her shoulder against"
1"His attention did exactly that"
2"His mouth twitched."
3"He lifted one hand, palm"
4"Her wrist burned beneath her"
5"His gaze dropped, fast and"
6"She almost laughed."
7"She glanced down, then back"
8"His expression changed."
9"He stepped forward."
10"Her pulse hit hard in"
11"He lowered his voice."
12"Her hand on the door"
13"It never had."
14"She hated that."
15"She hated that she remembered"
16"He crossed the threshold with"
17"She snorted despite herself and"
18"He angled the cane against"
19"He moved past her towards"
ratio0.406
36.09% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount117
totalSentences138
matches
0"Aurora Carter caught it with"
1"A draft of Brick Lane"
2"She planted her shoulder against"
3"Lucien Moreau filled the frame"
4"A split gaze that used"
5"His attention did exactly that"
6"Rory tightened her grip on"
7"His mouth twitched."
8"He lifted one hand, palm"
9"The name landed wrong."
10"Her wrist burned beneath her"
11"His gaze dropped, fast and"
12"She almost laughed."
13"Lucien’s cane tapped once against"
14"A neat little percussion that"
15"That got a real smile,"
16"Ptolemy made a low, possessive"
17"She glanced down, then back"
18"His expression changed."
19"A click in the mechanism."
ratio0.848
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences138
matches(empty)
ratio0
73.73% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences62
technicalSentenceCount6
matches
0"A split gaze that used to land on her mouth before it ever reached her face."
1"Too full of old nights, old hands, old lies that had tasted close enough to truth to become a habit."
2"A neat little percussion that did nothing to calm the nerve crawling up her spine."
3"She glanced down, then back up, and found Lucien watching the cat with the same concentration he usually reserved for locks, ledgers, and people who owed danger…"
4"Her skin tingled where it met his sleeve, as if the suit held a charge."
5"He noticed everything, which meant he also noticed the tiny movement of her hand covering it."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags15
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags12
fancyCount1
fancyTags
0"she snapped (snap)"
dialogueSentences110
tagDensity0.109
leniency0.218
rawRatio0.083
effectiveRatio0.018
89.0185%