Run: 2026-03-18-01KM07XGG3BAP9RY8PQTFWM8M1

Run Details

Duration:
18.2s
Cost:
$0.013134
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
“Stop!” Detective Harlow Quinn’s shout tore out of her as she vaulted a spilled crate and skidded on wet tarmac. The man ahead of her glanced back once, face pale under the streetlamp glare, then lunged between two parked vans and vanished into the narrow lane beyond. Quinn hit the corner hard enough to jar her shoulder. Her left wrist throbbed where her worn leather watch slapped against bone. She caught a flash of dark coat, a shaved patch of scalp, and a limp that had not slowed him much at all. Not a drunk. Not a mugger. A runner with purpose. “Police!” No one on the street helped. A delivery cyclist swerved round a puddle, cursed, and kept going. A pair of women under a shop awning shrank back behind their cigarettes and their laughter. Rain smeared the paving stones into slick black glass and drove a metallic stink up from the drains. The suspect cut through a gap between a kebab shop and a shuttered vape store. Quinn followed, boots slipping, coat dragging at her shoulders. The alley narrowed to a corridor of brick and old grease. He slammed through a flimsy side door that banged open on a broken spring. Quinn hit the door with her palm and pushed inside. A service passage. Bare bulb. Stacked milk crates. The smell of bleach over stale fryer oil. The man was already through the far end, shoving aside a hanging strip of plastic beads and bursting out into another street. “Damn it.” She came out fast, eyes sweeping. Soho crowded around her in layers of wet stone, neon, and cab noise. The green sign of The Raven’s Nest glowed two doors down, its letters buzzing above the entrance like a sick insect. A few late drinkers stood beneath it, collars up, faces turned to the rain. One of them gave Quinn a startled look as she sprinted past. The suspect took the pavement hard, shoulders pumping, and crashed through a knot of tourists who shouted after him in half a dozen accents. He didn’t slow. He had something in his right hand, small and pale, clenched so tight it flashed once and disappeared. Quinn drove after him, breathing steady, legs burning. She had chased armed men through stairwells, warehouses, and derelict estates. This had the same shape, the same tilt of panic at the edges. Not fear of arrest. Fear of what waited if he stopped. He yanked open the door of a laundrette and shot through the bright, empty front. Quinn burst in a second later, the place smelling of detergent and hot metal. Washing machines thumped in a neat row. A bored attendant behind the counter lifted his head, saw her badge, and flattened back into his chair. “Through here?” Quinn barked. The attendant pointed with one greasy finger towards a rear fire door. Quinn shoved it open and nearly took a faceful of steam. The suspect had crossed a tiny yard littered with broken bins and gone down a set of concrete steps to a basement car park. She heard his shoes hammering below before she saw him. She took the stairs two at a time, fingers brushing the wall for balance. A white van sat idling in the car park, fumes curling from its exhaust. The suspect darted around its front bumper, then for the first time hesitated. Quinn caught sight of his face in profile. Young enough to shave badly. Hollow cheeks. One split lip. Sweat and rain gleamed on his skin. He looked not at her, but at the far wall. A service lift crouched there, an old metal cage with its doors chained shut. Beside it, a painted sign warned of unauthorised access. Below that, someone had scribbled fresh black chalk marks in a tight spiral pattern. Quinn slowed by a fraction. The suspect saw it. His expression changed. He ducked under the chain, dropped to one knee, and rapped three times on the lift door with the pale thing in his hand. The sound rang through the car park. Quinn reached him as he slapped the object against a narrow seam in the concrete. Bone. It clicked against the wall and stuck there for half a second, then slid into a hidden slot with a soft scrape. A square panel shuddered open. Cold air breathed out from below, carrying a stink of damp stone, spice, old smoke, and something sweet gone rotten. “Move away from that.” The suspect grinned at her. It looked wrong on him, all teeth and no humour. “Too late, detective.” He ducked into the opening and vanished. Quinn lunged for the panel. It slammed shut in her face with a clang that echoed through the car park. She slapped it with her palm, then looked down. A seam. No obvious handle. No keyhole. Just plain concrete marked with the same spiral chalk and a worn patch where hands had brushed it open many times before. “Of course.” Her radio crackled on her shoulder. Quinn keyed it with one finger while keeping her eyes on the wall. “Control, I’ve got a suspect entering an unregistered access point beneath Brewer Street. Need units at once.” Static. A burst of garbled voice. Then, “Say again, Quinn. Your signal’s patchy.” The car park lights flickered. One of the fluorescent tubes above her spat and died. “Repeat, underground access. Send anyone you trust.” More static. Then the line cut. Quinn looked up at the lift, then at the concrete panel. She pulled a torch from her belt and shone it over the chalk. The spiral pattern had been drawn in bone dust and soot, and tiny scratches ringed the edge where fingernails had tested the seam. A hidden door. A crowd had learned to love it. Her jaw tightened. She could walk away. She could wait for backup, map the access, get a warrant, bring in specialists. That route had saved lives before. Her gaze dropped to the panel. Fresh smear on the lower edge. Blood, dark and tacky. Quinn slipped her hand into her coat pocket and closed her fingers around her cuff case. The little steel edge gave her an old comfort. Not enough. A slow thud sounded from below, as if someone had dropped something heavy on stone. Then another. Then a murmur of voices, low and threaded through with impatience. Quinn crouched and pressed her ear to the panel. Faint music drifted up, a warped violin line under the clink of glass and the murmur of a hundred deals made in whispers. Not a club. Not a basement flat. A market. Her mouth set into a thin line. “Bloody hell.” She moved to the side and found a narrow recess in the wall. Inside it lay a round object the size of a coin, pale and polished. Bone. She lifted it with two fingers. A token. One face bore a tiny crescent cut into the surface. The other had a shallow notch, smooth from use. Quinn stared at it a beat too long. Someone had left her a key. Footsteps sounded behind her. She spun, hand on her holster. Only the laundrette attendant, framed in the doorway, nervously chewing his lip. “You seen a man come through here?” Quinn asked. The attendant looked past her to the concrete wall and swallowed. “I’ve seen plenty of things.” “Then start being useful.” He rubbed his hands on his apron. Rainwater and bleach scented the air between them. “You’ll need that,” he said, glancing at the bone token. “If you’re going down.” “Down where?” His eyes flicked to the ceiling, as if the answer lived above the tube lines, then back to her badge. “The Market.” Quinn held his stare. “What market?” He gave a short, humourless laugh. “The one that moves when it pleases. The one that likes its doors fed with bone.” That stopped her for one hard second. Another sound drifted from below, sharper now. A burst of raised voices. One man shouted in a language she didn’t know. Something smashed. The suspect. Or something worse. Quinn palmed the token and turned it over. Cold. Dense. Worked from a real bone, not some trinket from a museum stall. Her throat tightened around an old memory she did not ask for, of a partner’s face gone blank beneath a streetlamp, of a case that had gone sideways in ways no report had managed to name. She pushed it aside with force. “Does everyone who goes in come back out?” The attendant gave her a look that might have been pity if it had not been too frightened to settle. “No.” Quinn slipped the token into her pocket. She found the seam again and pressed the crescent into a shallow notch on the panel. For a second nothing happened. Then the concrete shivered under her palm. With a deep mechanical groan, the wall split open along hidden joints. Cold air surged out in a rush, carrying the stench of wet earth, herbs, petrol, and something like burned sugar. Stairs dropped away into the dark. Quinn switched on her torch and pointed it down. Graffiti crowded the brick throat below, layered over old tile and rust stains. Ropes of coloured light bulbs hung overhead, strung between pipes. Voices rose and fell further in, clipped and sharp, a market waking around her like a nest of teeth. The attendant’s voice came thin from behind her. “Mind your purse. Mind your face. Mind what you look at.” Quinn glanced back once. “Helpful.” He shifted in place, eyes fixed on the opening. “You’re police.” “I’m aware.” “Then you’ll upset someone.” “That’s rather the point.” She started down. The stairs curved, then straightened into a long passage lined with cracked advertising tiles from another century. The farther she went, the less it felt like London and the more like some buried artery under the city’s skin. Damp climbed the walls. Pipes dripped overhead. Somewhere deep in the complex, a generator hummed with a low, hungry note. The market opened before her all at once. An abandoned Tube station spread wide beneath Camden, but it had been gutted, remade, and corrupted into a place that breathed its own laws. Old platform signs hung beside hanging herbs, animal skulls, and chains of tiny silver bells. Stalls crowded the concourse under patched tarpaulins and rigged canvas. Glass jars lined one table, each filled with murky liquid and labels written in spidery ink. A woman with a shaved head weighed black powder on brass scales while a man in a tailored coat inspected a box of teeth as if he were choosing cufflinks. No one shouted. They murmured, watched, bartered with glances. Quinn kept her torch low and moved with purpose, one hand near her weapon, the other around the bone token in her pocket. A seller with gold rings through both ears leaned over a tray of tarnished charms and studied her badge. “Wrong kind of uniform for this place.” “Wrong kind of shop for my taste.” He smiled with too many gums. “Taste is a luxury.” She ignored him and scanned the crowd. The suspect’s coat flashed ahead near a stall draped in black velvet. She moved towards it, shoulders tight, eyes tracking every hand and every face. A boy with rabbit-thin wrists darted between her and a woman carrying a cage covered in a cloth. A heavy scent of myrrh burned her nose. Somewhere close, a radio hissed in a language clipped to the bone. She reached the velvet stall and found a rack of carved figurines, old coins, and small jars packed with ash. Behind them, a narrow corridor led deeper into the station. The suspect had gone that way. Quinn stepped through and heard the scrape of someone drawing a blade. She stopped dead. A woman in a dark hood stood at the corridor’s far end, one hand on a door set into the brick. Her face remained hidden. Beside her hung a lantern made from green glass, the flame inside it burning with a dull, unnatural colour. The suspect crouched at her feet, one hand clamped over his bleeding side, the other still wrapped around the bone object he had stolen. He looked up at Quinn with fever-bright eyes. “Detective,” he croaked, and laughed through the blood. “You came.” The hooded woman shifted. The blade in her hand caught the lantern light. Not steel. Something black and narrow, honed to a line so thin it nearly vanished. Quinn raised her weapon. “Step away from him.” The woman tilted her head. “You shouldn’t have followed.” The suspect coughed hard and spat red onto the floor. He pointed a shaking finger at Quinn, then at the bone token in her pocket. “He brought you,” he whispered. “Not me.” The corridor lights died in a single stuttering rush, and from the blackness behind Quinn came the sound of a door opening on a room full of voices. Many voices. All moving towards her at once.
created_at"2026-03-18T10:30:00.478Z" 3/18/2026, 10:30:00 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency4178
moderation_latency(null)
generation_time17992
tokens_prompt4663
tokens_completion3417
native_tokens_prompt4132
native_tokens_completion2806
native_tokens_completion_images0
native_tokens_reasoning76
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"
usage0.013134
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_0a4a41c75c0df7110169ba7ea88b2081968493f949e0cf864f"
is_byokfalse
latency165
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-1773829800-m77UH2BU5hSxu2PjUv9L"
upstream_id"resp_0a4a41c75c0df7110169ba7ea88b2081968493f949e0cf864f"
total_cost0.013134
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
totalTags6
adverbTagCount0
adverbTags(empty)
dialogueSentences37
tagDensity0.162
leniency0.324
rawRatio0
effectiveRatio0
97.69% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2169
totalAiIsmAdverbs1
found
0
adverb"nervously"
count1
highlights
0"nervously"
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)
74.64% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2169
totalAiIsms11
found
0
word"throbbed"
count1
1
word"pumping"
count1
2
word"echoed"
count1
3
word"flickered"
count1
4
word"footsteps"
count1
5
word"flicked"
count1
6
word"mechanical"
count1
7
word"complex"
count1
8
word"scanned"
count1
9
word"velvet"
count2
highlights
0"throbbed"
1"pumping"
2"echoed"
3"flickered"
4"footsteps"
5"flicked"
6"mechanical"
7"complex"
8"scanned"
9"velvet"
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
narrationSentences203
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences203
filterMatches
0"watch"
hedgeMatches
0"managed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences233
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2169
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
75.37% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions44
wordCount2010
uniqueNames9
maxNameDensity1.49
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn30
Raven1
Nest1
London1
Tube1
Camden1
One5
Cold3
persons
0"Harlow"
1"Quinn"
2"Raven"
3"Nest"
places
0"London"
globalScore0.754
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences141
glossingSentenceCount2
matches
0"something like burned sugar"
1"felt like London and the more like some"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.461
wordCount2169
matches
0"not at her, but at the far wall"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences233
matches
0"gone that way"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs107
mean20.27
std20.49
cv1.011
sampleLengths
020
127
255
31
451
549
610
738
82
966
1045
1143
1254
134
1412
1559
1652
1710
1837
199
2027
217
2263
234
2415
253
267
2729
2829
292
3019
3117
3213
3315
347
356
3657
373
3824
3916
4027
4115
422
4311
4441
457
462
4755
488
496
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences203
matches
0"been drawn"
1"been gutted"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs318
matches
0"were choosing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences233
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2012
adjectiveStacks0
stackExamples(empty)
adverbCount55
adverbRatio0.027335984095427434
lyAdverbCount5
lyAdverbRatio0.002485089463220676
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences233
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences233
mean9.31
std6.68
cv0.718
sampleLengths
020
127
210
312
423
53
63
74
81
96
1011
1116
1218
1315
149
1511
1614
1710
183
192
203
218
2222
232
246
2513
2621
2714
2812
2924
303
3118
328
3311
3413
354
367
3715
3814
397
4018
414
4212
4311
4424
4510
4614
4714
4813
498
52.22% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats15
diversityRatio0.351931330472103
totalSentences233
uniqueOpeners82
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount8
totalSentences181
matches
0"Just plain concrete marked with"
1"Then the line cut."
2"Then a murmur of voices,"
3"Only the laundrette attendant, framed"
4"Then the concrete shivered under"
5"Somewhere deep in the complex,"
6"Somewhere close, a radio hissed"
7"All moving towards her at"
ratio0.044
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount47
totalSentences181
matches
0"Her left wrist throbbed where"
1"She caught a flash of"
2"He slammed through a flimsy"
3"She came out fast, eyes"
4"He didn’t slow."
5"He had something in his"
6"She had chased armed men"
7"He yanked open the door"
8"She heard his shoes hammering"
9"She took the stairs two"
10"He looked not at her,"
11"His expression changed."
12"He ducked under the chain,"
13"It clicked against the wall"
14"It looked wrong on him,"
15"He ducked into the opening"
16"It slammed shut in her"
17"She slapped it with her"
18"Her radio crackled on her"
19"She pulled a torch from"
ratio0.26
70.50% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount141
totalSentences181
matches
0"Detective Harlow Quinn’s shout tore"
1"The man ahead of her"
2"Quinn hit the corner hard"
3"Her left wrist throbbed where"
4"She caught a flash of"
5"A runner with purpose."
6"A delivery cyclist swerved round"
7"A pair of women under"
8"Rain smeared the paving stones"
9"The suspect cut through a"
10"Quinn followed, boots slipping, coat"
11"The alley narrowed to a"
12"He slammed through a flimsy"
13"Quinn hit the door with"
14"A service passage."
15"The smell of bleach over"
16"The man was already through"
17"She came out fast, eyes"
18"Soho crowded around her in"
19"The green sign of The"
ratio0.779
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences181
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences89
technicalSentenceCount5
matches
0"The suspect took the pavement hard, shoulders pumping, and crashed through a knot of tourists who shouted after him in half a dozen accents."
1"A slow thud sounded from below, as if someone had dropped something heavy on stone."
2"Her throat tightened around an old memory she did not ask for, of a partner’s face gone blank beneath a streetlamp, of a case that had gone sideways in ways no …"
3"An abandoned Tube station spread wide beneath Camden, but it had been gutted, remade, and corrupted into a place that breathed its own laws."
4"A woman with a shaved head weighed black powder on brass scales while a man in a tailored coat inspected a box of teeth as if he were choosing cufflinks."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags6
uselessAdditionCount0
matches(empty)
68.92% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount3
fancyTags
0"Quinn barked (bark)"
1"he croaked (croak)"
2"he whispered (whisper)"
dialogueSentences37
tagDensity0.135
leniency0.27
rawRatio0.6
effectiveRatio0.162
91.3115%