Run: 2026-03-18-01KM07MP8HE4GX5Q712FFRQA3R

Run Details

Duration:
24.3s
Cost:
$0.024024
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Thriller genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The man in the charcoal coat slammed through a fruit stall, kicked a crate aside and sent blood oranges skittering across the slick pavement. Quinn hit the corner hard enough to jar her shoulder, caught herself on a lamp post and saw him glance back once, just once, with that thin, ugly grin that told her he knew exactly how close she had come. Rain stitched the street into shining strips. Taxi lights bled red across the puddles. A bus hissed past, slow and hulking, and the suspect slipped around its rear, cutting between two parked vans with a brown paper parcel tucked under his arm like a stolen heart. “Police. Stop.” He laughed over his shoulder and kept running. Quinn drove after him, boots striking wet tarmac, breath measured, shoulders low. Eighteen years on the job had taught her how to move when chaos wanted an audience. She did not waste steps. She cut the corner, swore when her shoe skated on the orange pulp, and forced her balance back with a twist of her hips. The man ahead of her wore a charcoal coat with the collar turned up and one sleeve torn at the cuff. He was quick, not panicked. Worse, he had already picked his route. He veered into a narrow side street between a closed café and a barber shop with a cracked mirror in the window. Quinn caught the smell of damp bins, old fry oil and fresh rain blown into the alley from the main road. The suspect hit the brick wall at the far end, shoved a steel door open and disappeared inside. Quinn lengthened her stride. The door banged shut before she reached it. She stopped with her hand on the handle. No lock. No alarm. Just a plain, scarred service door with layers of old paint and a strip of flaking warning tape near the frame. Someone had scrubbed the brass numbers off the surface. A maintenance entrance that no one used, except someone had used it enough to keep the hinges oiled. On the ground, half hidden in dirty water, lay a white disc the size of a shilling, drilled through the middle and threaded on a black cord. Bone. Polished smooth by fingers and use. Quinn crouched, lifted it between thumb and forefinger, and watched the alley entrance behind her. No backup. No time. Her left hand settled on the grip at her belt, the worn leather strap of her watch pressing against her wrist as she straightened. The parcel man had not run into a dead end. He had run into a door the city pretended not to have. She pushed the door open. Stairs dropped away into dark concrete and stale air. The first few steps carried the smell of wet plaster, mildew and something sharper beneath it, a bitter mineral tang that bit the back of her throat. A low thrum trembled through the wall, distant music or machinery, she could not tell which. The place swallowed sound. Her footsteps landed too cleanly, each one clipped, each one answered by her own breathing. Halfway down, she saw the suspect again. He stood at the foot of the stairs with his parcel under his arm, turning the bone token over in his hand. A heavy metal gate blocked the corridor ahead, welded into the frame of an old access tunnel. Chalk sigils marked the stone around it in crooked white loops. He tapped the token against the gate, and the rusted bars shuddered apart with a long, reluctant scrape. Quinn came off the last step fast. He heard her. His head snapped up. “Bloody hell.” He bolted through the opening. Quinn reached for him, caught the back of his coat, and tore a seam down the shoulder. He spun, elbowed her in the ribs, and the parcel slid from his grip. It struck the floor, split open, and a dozen little glass vials rolled in different directions, each one filled with something pale and writhing. Quinn stamped on one before it could escape under the gate. Glass broke under her heel. The smell that rose from it was sweet and rotten at once, like flowers left too long in a closed room. The suspect slammed a fist into her jaw. Her head rang. She answered with a knee to his thigh and felt the joint buckle. He hissed, grabbed her hair, and dragged her face towards the stone wall. She twisted free, brought the bone token up between them and drove the edge into the soft spot under his wrist. He howled and let go. Quinn snatched the parcel cord, yanked him forward and hit him with a shoulder that sent him stumbling into the gate. The bars shivered, opened wider, then began to close again with a grinding whine. The suspect smiled through blood on his lip. “You should have stayed on the pavement.” “Tell me who paid you.” His eyes flicked past her, towards the tunnel behind. The smile sharpened. “Wrong question.” He kicked her shin, hard enough to buckle her stance, then tore free and ran through the gate before it sealed. Quinn lunged after him and shoved through the narrowing gap. Metal clipped her sleeve as the bars slammed shut behind her with a crack that echoed through the tunnel like a gunshot. She kept moving. The corridor widened into a platform that should have belonged to a buried railway line, but the old station had been remade. Lanterns hung from chains where emergency lights should have been. Black tarpaulin draped the tiled walls. Stalls crowded the platform edge in crooked rows, each one lit by candle flame, neon spill or a jar of something bioluminescent and green. A man with silver teeth sold tiny bottles from an ancient suitcase. A woman in a fur collar weighed black seeds on brass scales. Behind them all, the old platform signs still hung above the tracks, their station names scratched out and replaced with fresh chalk warnings in three different languages. The Veil Market. Quinn had heard the name in whispers, in reports that never made the file and scraps of testimony no one signed. Banned alchemicals. Enchanted goods. Information for a price that changed with the moon and the mood of the seller. A place that moved, a place that hid, a place that treated law like an amusing superstition. Now it pressed round her in warm, damp waves. Incense curled through the air. Spices. Copper. Cheap cologne. Something sour and animal under it all. Voices rose and fell in clipped bursts, a dozen accents tangled together. Coins clinked. A child laughed, then cut off too abruptly. Her badge sat cold in her palm. She closed her fingers over it. “Badge won’t buy you much here.” The voice came from her right. Quinn turned to find a tall woman in a red scarf leaning against a stall draped in black velvet. Her eyes ran over Quinn’s coat, her shoes, the token in her hand. “Where did he go?” “Who?” “The man in the charcoal coat.” The woman’s mouth twitched. “That depends who’s asking.” Quinn stepped closer and held up the badge. “Metropolitan Police.” The woman snorted. “Then you’re a long way from the Met.” A shout rose from the far end of the platform. Quinn looked up just in time to spot the suspect slipping between two stalls, shoulder to shoulder with a bald trader in a waxed apron. He glanced back, saw her and shoved past a hanging curtain of beads. Quinn shoved through the crowd. A trader barked at her in a language she did not know. Someone knocked her elbow. She kept the bone token tight in her fist and moved like she did on a breach, eyes forward, weight balanced, hands ready. A stall piled with saint medals and dried herbs flashed past on her left. On her right, glass jars held folded paper strips that twitched against the glass like trapped insects. People here wore practical clothes underneath their glamour, good boots, hard eyes, sharp hands. The suspect ducked beneath a sign painted with a crescent and vanished through a curtain of bead chains into a side aisle. Quinn followed. The aisle narrowed, lined with crates of old books, tarnished knives, bullet casings strung on wire and bowls of ash that smelled faintly of burnt rosemary. She caught the back of his coat again at the end of the aisle and slammed him into a tiled pillar. He grunted, struggled, then froze when she pressed the edge of the bone token to his throat. “Who are you carrying for?” He swallowed. His pulse kicked against the token. “Not for me.” “Start again.” His gaze slid over her shoulder. His face changed, just a little. Not fear. Calculation. “You have no idea where you’ve walked.” Quinn leaned in. “I know enough.” “You know the surface. That’s all.” “Tomorrows not your concern. Talk.” The market around them kept moving, but the air had tightened. Conversations thinned. Heads turned. Quinn felt eyes on her back, on the badge clipped inside her coat, on the token in her hand. A woman at the nearest stall set down a tray of little black teeth and stepped away. Somewhere behind the curtained aisles, a bell rang once, dull and deep. The suspect licked blood from his lip. “There’s a buyer below the old service track. He wanted a line of names, not goods. Names, dates, places, all neat and tidy. Said your lot had started asking the wrong questions.” “Names of who?” He gave a short, sharp laugh. “You know who.” Quinn’s jaw tightened. The clique. The missing bodies. The men who vanished after the file gaps and the sealed statements and the witnesses who suddenly forgot everything they had seen. “Who’s the buyer?” The suspect shook his head, and this time the movement looked less like defiance than warning. “That name belongs to the Market.” A hard knock echoed from somewhere above, followed by a metallic shriek. The lanterns flickered. Several heads tilted at once. The trader with silver teeth slipped one hand beneath his counter. The woman in the red scarf took one step back and folded her arms as if she had just found a good seat in a theatre. Quinn tightened her grip on the token. “Last chance.” The suspect stared at her for a beat too long, then opened his mouth. A voice boomed from the end of the aisle. “No police on my platform.” Quinn turned. Two men in dark coats blocked the path behind her, broad-shouldered and silent, each with a heavy baton in hand. Between them stood a third figure, thin as a rail, face hidden beneath a hood of stitched black cloth. The suspect in her grip jerked hard enough to break free, and the bone token slipped from Quinn’s fingers. It hit the tile, bounced once and skidded beneath a table piled with vials. Every light on the platform went out at once. Darkness swallowed the aisle. Something crashed nearby, glass breaking in a wet spill. A woman screamed. Then another. The crowd began to surge in all directions at once, boots pounding, bodies slamming into stalls, voices rising into one frantic, ragged roar. A hand clamped over Quinn’s mouth from behind and dragged her backwards into the black.
created_at"2026-03-18T10:25:11.47Z" 3/18/2026, 10:25:11 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency16604
moderation_latency(null)
generation_time24069
tokens_prompt4663
tokens_completion3231
native_tokens_prompt4132
native_tokens_completion4650
native_tokens_completion_images0
native_tokens_reasoning2305
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"
usage0.024024
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_0a98799c15e43c880169ba7d878b1c8190ba3e1f76cc5426f3"
is_byokfalse
latency176
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-1773829511-WUMYyNGjLOWoc4h4ITeK"
upstream_id"resp_0a98799c15e43c880169ba7d878b1c8190ba3e1f76cc5426f3"
total_cost0.024024
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
totalTags0
97.36% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1895
totalAiIsmAdverbs1
found
0
adverb"suddenly"
count1
highlights
0"suddenly"
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)
68.34% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1895
totalAiIsms12
found
0
word"hulking"
count1
1
word"measured"
count1
2
word"trembled"
count1
3
word"footsteps"
count1
4
word"flicked"
count1
5
word"echoed"
count2
6
word"velvet"
count1
7
word"weight"
count1
8
word"pulse"
count1
9
word"flickered"
count1
10
word"pounding"
count1
highlights
0"hulking"
1"measured"
2"trembled"
3"footsteps"
4"flicked"
5"echoed"
6"velvet"
7"weight"
8"pulse"
9"flickered"
10"pounding"
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
narrationSentences154
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences154
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)
analyzedSentences180
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen40
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1895
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions3
unquotedAttributions0
matches(empty)
81.86% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions26
wordCount1761
uniqueNames3
maxNameDensity1.36
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Quinn"
discoveredNames
Veil1
Market1
Quinn24
persons
0"Quinn"
places(empty)
globalScore0.819
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences108
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1895
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences180
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs75
mean25.27
std27.24
cv1.078
sampleLengths
064
146
22
38
490
561
612
760
834
965
105
1171
127
1368
147
157
162
1760
1837
1958
205
2135
228
237
245
2512
262
2753
283
29113
303
3157
3247
3313
346
3538
364
371
386
398
408
412
4211
4348
4489
4571
4617
475
488
493
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences154
matches
0"been remade"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs296
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences180
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1762
adjectiveStacks0
stackExamples(empty)
adverbCount47
adverbRatio0.026674233825198637
lyAdverbCount6
lyAdverbRatio0.00340522133938706
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences180
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences180
mean10.53
std8
cv0.76
sampleLengths
024
140
27
37
432
52
68
712
816
95
1024
1121
125
137
1422
1521
1618
174
188
198
202
212
2221
239
2418
2527
261
276
2815
292
302
3124
3210
3312
345
359
3627
3716
384
3915
407
4122
4217
4311
4418
457
463
474
482
495
55.00% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.36666666666666664
totalSentences180
uniqueOpeners66
49.75% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences134
matches
0"Just a plain, scarred service"
1"Somewhere behind the curtained aisles,"
ratio0.015
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount37
totalSentences134
matches
0"He laughed over his shoulder"
1"She did not waste steps."
2"She cut the corner, swore"
3"He was quick, not panicked."
4"He veered into a narrow"
5"She stopped with her hand"
6"Her left hand settled on"
7"He had run into a"
8"She pushed the door open."
9"Her footsteps landed too cleanly,"
10"He stood at the foot"
11"He tapped the token against"
12"He heard her."
13"His head snapped up."
14"He bolted through the opening."
15"He spun, elbowed her in"
16"It struck the floor, split"
17"Her head rang."
18"She answered with a knee"
19"He hissed, grabbed her hair,"
ratio0.276
4.78% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount122
totalSentences134
matches
0"The man in the charcoal"
1"Quinn hit the corner hard"
2"Rain stitched the street into"
3"Taxi lights bled red across"
4"A bus hissed past, slow"
5"He laughed over his shoulder"
6"Quinn drove after him, boots"
7"She did not waste steps."
8"She cut the corner, swore"
9"The man ahead of her"
10"He was quick, not panicked."
11"He veered into a narrow"
12"Quinn caught the smell of"
13"The suspect hit the brick"
14"Quinn lengthened her stride."
15"The door banged shut before"
16"She stopped with her hand"
17"Someone had scrubbed the brass"
18"A maintenance entrance that no"
19"Quinn crouched, lifted it between"
ratio0.91
37.31% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences134
matches
0"Now it pressed round her"
ratio0.007
96.47% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences77
technicalSentenceCount5
matches
0"Quinn hit the corner hard enough to jar her shoulder, caught herself on a lamp post and saw him glance back once, just once, with that thin, ugly grin that told…"
1"The first few steps carried the smell of wet plaster, mildew and something sharper beneath it, a bitter mineral tang that bit the back of her throat."
2"Quinn snatched the parcel cord, yanked him forward and hit him with a shoulder that sent him stumbling into the gate."
3"The aisle narrowed, lined with crates of old books, tarnished knives, bullet casings strung on wire and bowls of ash that smelled faintly of burnt rosemary."
4"The men who vanished after the file gaps and the sealed statements and the witnesses who suddenly forgot everything they had seen."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags0
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
89.6957%