Run: 2026-03-18-01KM082YRBXQEHKDR22A268N5A

Run Details

Duration:
15.1s
Cost:
$0.016460
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Mystery genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
“Touch nothing.” Detective Harlow Quinn’s voice cut through the platform like a blade. It stopped the uniformed constable with his gloved hand hovering over a pool of blackened wax beside the old ticket barrier. The abandoned Tube station beneath Camden had become a throat of brick and iron, half-swallowed by darkness and freighted with smells that did not belong together, hot metal, damp stone, old tobacco, and something sharp enough to sting the nose. A row of stripped benches leaned against the wall beneath a flickering strip light. Beyond them, stalls had been kicked over in a rough crescent, their lacquered trays spilling charms, vials, copper coins, and velvet pouches across the concrete. And in the middle of it all lay the body. Quinn took it in without slowing. Sharp jaw set, worn leather watch snug on her left wrist, she walked the length of the platform with the same stiff precision she used in briefing rooms and boxing-in suspects. Her closely cropped salt-and-pepper hair caught the sickly light as she crouched beside the corpse. A man in a scarlet waistcoat. Veil Market trader, from the look of the stitched sigils on his cuffs. One eye stared at the ceiling. The other had collapsed into a wet ruin of grey tissue and blood. No pools. No drag marks. No frenzy. That was the first problem. The second sat six feet away, where a bone token had been set neatly on top of a folded black cloth, as if someone had paid their fare before leaving the station. “Staged,” said the constable. Quinn looked over her shoulder. “By whom?” He swallowed. “The killer.” “No.” She pointed with two fingers, careful not to disturb the scene. “If someone wanted to stage a panic, they’d have scattered the stall goods. They’d have smashed the jars, kicked over the lamps, pulled the cash box. They’d have made a mess.” Eva Kowalski stood near the far pillar with her worn leather satchel clutched to her chest, round glasses reflecting the station lights. She had a notebook open in one hand and kept tucking a curl of red hair behind her left ear whenever she paused to think. “Unless the point wasn’t panic.” Quinn rose and gave her a flat look. “Then enlighten me.” Eva adjusted her glasses and stepped around a toppled rack of hanging amulets. “The arrangement looks ceremonial. The circle of salt, the bone token, the burnt wax, the scattered goods placed outside the ring, not through it. Someone made a boundary. Or tried to.” The constable frowned. “You’re saying a ritual?” “I’m saying it wears the costume of one.” Eva knelt, peering at the ashes near the body. “But this is wrong. Too neat. Too exact. Real rites leave stains. Nail marks. Panic. People shake when they’re afraid.” Quinn crouched again and touched two fingers to the concrete beside the dead trader’s boot. Dry grit. Fine white crystals. Salt, yes, but mixed with something darker. She pinched a fragment between her gloves and rubbed it. Iron filings. She glanced at the walls. “Who called this in?” “Market runner,” said the constable. “He showed a bone token at the service entrance and dragged me down here. Said the place went quiet all at once, then the lights started coughing.” “Coughing,” Quinn repeated. “He said it.” Eva traced the edge of the corpse’s collar with her pen, not touching. “No defensive wounds. That’s odd.” “Is it?” “She’s right,” said a gravelly voice from behind Quinn. She turned. Inspector Lyle Baines stood at the foot of the stairs in his rain-dark overcoat, broad shoulders filling the narrow passage. He had the kind of face that looked carved from old arguments, and he carried his notebook tucked under one arm like he meant to stab someone with it later. Two uniforms flanked him, one pale, one already regretting the assignment. Baines took in the scene, then gave Quinn a short nod. “The locals think it’s market business. Knife in the back. Deal gone sour. One of their own got greedy and paid for it.” Quinn looked back at the body. “Where’s the knife?” Baines blinked once. “Could have been removed.” “Could have. Where’s the blood?” “The stain’s under him.” “There isn’t enough.” Quinn stood and moved to the body’s right side. “The throat’s opened, yes, but the lane of spatter doesn’t match the wound depth. He didn’t bleed out here. Someone lifted him after the cut. Carefully.” One of the uniforms spoke before thinking better of it. “Why would they do that?” Quinn’s mouth twitched, not quite a smile. “Because they wanted the scene to tell a story, and stories lie.” Eva shifted closer to the dead man’s hand. “His nails.” Quinn followed her gaze. Three nails on the left hand showed black crescents beneath the cuticles. The skin around them had split, dried, and blistered. Not from struggle. From heat. “Burns,” Eva said. “But only the fingers.” Baines frowned. “Cigarette?” Quinn shot him a look. “What cigarettes leave radial burns and microscopic glass?” She straightened, scanning the floor. There, among the scattered charms, lay a broken phial, its neck fused to the concrete as if it had struck molten stone. Tiny fragments glittered around it in a shallow fan. Eva’s face tightened. “Alchemical vial. Someone threw it.” “At the body?” Baines asked. “At something near the body,” Quinn said. She crouched, eyes narrowing. “The glass fused on impact, which means the contents were hotter than the station air. Not acid. Not standard incendiary. This has residue.” She sniffed the air and caught it again, that sour, mineral tang under the rot and metal. “Brimstone salts.” Baines crossed his arms. “You’re saying some sort of occult weapon was used.” “I’m saying someone used a chemical that reacts to supernatural energy.” Eva glanced at her. “And you know that because?” Quinn lifted the edges of the dead man’s sleeve. His forearm showed a pale chain of burn-marks, each one small and round, spaced like teeth. “Because something bit him before he died.” The constable went pale. “Bit him?” Quinn pointed to the marks. “Not teeth. Contact points. A sigil array. Someone held a charged object against his skin.” Baines stepped closer. “Could have been restraint.” “No.” Quinn tapped the nearest mark with the tip of her pen. “Look at the spacing. Wrong for cuffs, wrong for rope. It came from a ring. Or a disc.” Eva’s pen scratched across the page. “A warded instrument.” “A key,” Quinn said. Silence settled for a beat. Then Eva looked up. “A key to what?” Quinn turned her head slowly, taking in the platform, the stalled goods, the bone token, the burnt wax, the old brick archway behind the western stall line. There, half hidden under a collapsed tarpaulin, sat a brass circle fixed into the wall. Decorative at first glance. But the sigils around the rim had been scored anew, fresh metal bright against old verdigris. Her gaze sharpened. “Not what,” she said. “Where.” She crossed the platform and crouched by the arch. A narrow seam ran down the brickwork, almost invisible beneath grime. She ran a gloved finger along it and found the faintest draft, cool and damp, breathing from behind the wall. Baines joined her, his expression hardening. “That’s a service recess. Old line infrastructure.” “No.” Eva shook her head and pushed her glasses up. “The bricks don’t match the surrounding bond. Look at the mortar. This section was rebuilt. Not repaired, rebuilt.” Quinn rose, eyes moving over the sigils etched into the brass circle. Protective runes, yes, but layered over them ran a second pattern, angular and ugly, like a child copying Latin from memory and getting angry halfway through. She gave a quiet snort. “Shade work.” Baines’s brows drew together. “Shade?” “A Shade artisan made the compass,” Eva said, and caught herself. “Not that compass. Similar hand. See the edges? The cut’s clean but the pattern is warped. Someone copied a design from the Veil Market and did not understand what it did.” Quinn turned sharply. “Then they got it from there.” Baines lifted his notebook. “You’re both saying this came from the market.” “I’m saying it came through the market,” Quinn said. She reached into her coat and took out a small brass compass, its verdigris patina dim under the station lights. The face bore fine protective sigils, delicate as spider legs. She flipped it open. The needle jittered once. Then it swung hard and locked on the wall. Eva’s breath caught. “There.” The constable stared. “At the wall?” Quinn’s eyes stayed on the compass. “At what’s behind it.” Baines exhaled through his nose. “We have a body, Quinn. Not a treasure hunt.” “We have a body because someone opened something they should not have.” She closed the compass and tucked it away, then pressed two fingers to the bricks. The draft deepened, faint but definite, carrying a scent like wet pennies and distant rain on stone. Not weather. Something else. A seam in the world. A uniform muttered, “Christ.” Quinn ignored him. She traced the line of the rebuilt section, then the floor beneath the dead trader’s boots, then the circle of salt and iron. The geometry was wrong. The ritual circle did not sit centred on the body. It sat centred on the wall. They had killed the trader away from here and carried him into position. Not to hide the murder. To anchor it. Her jaw tightened. “He wasn’t the target.” Baines folded his arms tighter. “Then who was?” Quinn looked at the broken phial, the scorched fingers, the sigil ring around the wall seam. “The thing behind the wall.” Eva went still. “A gate?” “Or a lock.” Quinn stepped back. “Someone opened this from the wrong side and the trader got in the way. That’s why the blood’s wrong. That’s why the burns sit on his fingers. He touched the key after it had been used.” Baines gave a thin, humourless laugh. “You’re reading a great deal from a scratchy compass and a cracked wall.” Quinn’s eyes slid to him. “And you’re standing in an underground market that vanishes every full moon, surrounded by talismans and bone tokens, with a corpse whose eye has been cooked from the inside. If you want to keep the tidy explanation, Inspector, you’ll need to work harder.” Eva bent and plucked something from the grit with tweezers. A thin strip of blackened metal, curved and stamped with a tiny crescent symbol. She held it up. “This was inside the phial.” Quinn took it, turned it under the light. The metal bore a hand-pressed mark: the same crescent as the brass circle, but cut through with a line. A maker’s stamp. “Market vendor,” Quinn said. “Not a killer’s.” Baines frowned. “You know every stall in this place?” “No.” Quinn slid the strip into an evidence bag. “I know enough to see when a vendor’s mark ends up in a weapon.” The station lights gave a short, dirty flicker. Once. Twice. Then the far end of the platform answered with a low metallic groan. Everyone turned. The tarpaulin over the western arch shifted as if a hand had passed behind it. Dust spilled from the seam in a pale little sheet. The brass circle in the wall gave a dry click. Eva backed a step, one hand already in her satchel. “Harlow.” The compass in Quinn’s pocket hammered against the brass of its clasp, a rapid, insistent tick-tock, tick-tock. The needle had found its mark. Baines drew his torch. “Tell me that’s just settlement.” Quinn reached for the torch before he fully raised it. “If it were, Inspector, it would have waited for a better moment.” The bricks shuddered. A crack split the mortar line clean from top to bottom, and cold air burst through it in a hiss that smelled of iron, ash, and something old enough to know her name. The tarpaulin tore inward. From the dark beyond, a narrow shape slid forward, wet and gleaming, and every talisman on the nearest stall began to rattle at once.
created_at"2026-03-18T10:32:58.918Z" 3/18/2026, 10:32:58 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3610
moderation_latency(null)
generation_time14834
tokens_prompt4671
tokens_completion3392
native_tokens_prompt4157
native_tokens_completion2965
native_tokens_completion_images0
native_tokens_reasoning271
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"
usage0.01646025
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_013ddf837ed4be430169ba7f5af87c81979c0024709ce28bee"
is_byokfalse
latency191
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-1773829978-X7P2NlHywbtUUlcvHy9T"
upstream_id"resp_013ddf837ed4be430169ba7f5af87c81979c0024709ce28bee"
total_cost0.01646025
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
totalTags17
adverbTagCount1
adverbTags
0"Quinn stepped back [back]"
dialogueSentences86
tagDensity0.198
leniency0.395
rawRatio0.059
effectiveRatio0.023
92.55% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2013
totalAiIsmAdverbs3
found
0
adverb"carefully"
count1
1
adverb"slowly"
count1
2
adverb"sharply"
count1
highlights
0"carefully"
1"slowly"
2"sharply"
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)
75.16% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2013
totalAiIsms10
found
0
word"velvet"
count1
1
word"traced"
count2
2
word"scanning"
count1
3
word"standard"
count1
4
word"charged"
count1
5
word"silence"
count1
6
word"etched"
count1
7
word"flicker"
count1
8
word"gleaming"
count1
highlights
0"velvet"
1"traced"
2"scanning"
3"standard"
4"charged"
5"silence"
6"etched"
7"flicker"
8"gleaming"
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
narrationSentences153
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences153
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)
analyzedSentences219
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen43
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2013
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions20
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions73
wordCount1358
uniqueNames12
maxNameDensity2.36
worstName"Quinn"
maxWindowNameDensity5
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn32
Tube1
Camden1
Market1
Eva16
Kowalski1
Lyle1
Baines15
One2
Silence1
Latin1
persons
0"Harlow"
1"Quinn"
2"Camden"
3"Eva"
4"Kowalski"
5"Lyle"
6"Baines"
7"One"
8"Silence"
places(empty)
globalScore0.322
windowScore0
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences81
glossingSentenceCount1
matches
0"not quite a smile"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2013
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences219
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs105
mean19.17
std16.78
cv0.875
sampleLengths
02
132
279
310
452
545
65
732
84
97
104
1143
1252
1311
1444
157
1637
1739
189
1932
203
213
2218
232
249
252
2661
2734
289
297
305
314
3238
3315
3419
3510
3630
377
383
3913
4036
418
425
4334
4419
4513
4611
479
4832
496
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences153
matches
0"been kicked"
1"been scored"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs235
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences219
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1367
adjectiveStacks0
stackExamples(empty)
adverbCount40
adverbRatio0.029261155815654718
lyAdverbCount8
lyAdverbRatio0.005852231163130944
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences219
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences219
mean9.19
std8.19
cv0.89
sampleLengths
02
111
221
340
414
525
610
76
831
915
106
1113
126
1313
142
153
162
175
1832
194
205
212
222
232
2412
2531
2622
2725
285
298
303
3113
3231
333
344
3517
3620
3715
382
393
407
4110
422
435
444
455
4627
473
483
4913
49.01% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.3242009132420091
totalSentences219
uniqueOpeners71
76.34% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences131
matches
0"Then Eva looked up."
1"Then it swung hard and"
2"Then the far end of"
ratio0.023
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount23
totalSentences131
matches
0"It stopped the uniformed constable"
1"Her closely cropped salt-and-pepper hair"
2"She pointed with two fingers,"
3"She had a notebook open"
4"She pinched a fragment between"
5"She glanced at the walls."
6"He had the kind of"
7"She straightened, scanning the floor."
8"She crouched, eyes narrowing."
9"She sniffed the air and"
10"His forearm showed a pale"
11"Her gaze sharpened."
12"She crossed the platform and"
13"She ran a gloved finger"
14"She gave a quiet snort."
15"She reached into her coat"
16"She flipped it open."
17"She closed the compass and"
18"She traced the line of"
19"It sat centred on the"
ratio0.176
51.60% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount107
totalSentences131
matches
0"Detective Harlow Quinn’s voice cut"
1"It stopped the uniformed constable"
2"The abandoned Tube station beneath"
3"A row of stripped benches"
4"Quinn took it in without"
5"Her closely cropped salt-and-pepper hair"
6"A man in a scarlet"
7"Veil Market trader, from the"
8"The other had collapsed into"
9"That was the first problem."
10"The second sat six feet"
11"Quinn looked over her shoulder."
12"She pointed with two fingers,"
13"Eva Kowalski stood near the"
14"She had a notebook open"
15"Quinn rose and gave her"
16"Eva adjusted her glasses and"
17"The constable frowned."
18"Eva knelt, peering at the"
19"Quinn crouched again and touched"
ratio0.817
38.17% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences131
matches
0"To anchor it."
ratio0.008
88.95% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences53
technicalSentenceCount4
matches
0"The abandoned Tube station beneath Camden had become a throat of brick and iron, half-swallowed by darkness and freighted with smells that did not belong togeth…"
1"He had the kind of face that looked carved from old arguments, and he carried his notebook tucked under one arm like he meant to stab someone with it later."
2"There, among the scattered charms, lay a broken phial, its neck fused to the concrete as if it had struck molten stone."
3"A crack split the mortar line clean from top to bottom, and cold air burst through it in a hiss that smelled of iron, ash, and something old enough to know her …"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags17
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount2
fancyTags
0"Quinn repeated (repeat)"
1"A uniform muttered (mutter)"
dialogueSentences86
tagDensity0.116
leniency0.233
rawRatio0.2
effectiveRatio0.047
89.0592%