Run: 2026-03-18-01KM0836K1YWGMBPGHCEX43J3B

Run Details

Duration:
17.7s
Cost:
$0.017129
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</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> </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 literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. 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
Rory nearly dropped the glass when the laugh cut across the bar. Not loud. Not even bright. Just the same clipped, smoky little burst that used to split late-night seminars in Cardiff and earn them both death looks from lecturers who mistook wit for insolence. She set the glass down before it slipped from her fingers. Her left wrist brushed the bar top, and the crescent scar there caught on the wood for a second, a pale hook against the grain. The woman at the end of the counter turned her head. Rory forgot how to breathe. “Carter.” The name landed like a coin in a drain. Small, metallic, gone. Mara Vale stood beneath the green spill of the neon sign outside, one hand wrapped around a tumbler she had not touched, the other buried in the pocket of a black coat that looked tailored enough to insult the room. She had once worn battered trainers, cheap rings, and a stubborn fringe that fell into her eyes whenever she argued. Now her hair sat in a clean knot at the nape of her neck. No fringe. No rings. No obvious softness anywhere. Her mouth held the same old shape, though, that slight curl of amusement like she was already halfway through a joke. Rory leaned on the bar and let the silence stretch. “Mara.” “Still alive, then.” “Disappointingly.” Mara’s eyes travelled over her face with a quickness that felt almost rude. She stopped at Rory’s wrist, on the scar, then flicked away. “You look older.” “You sound like a terrible person.” “I always was.” That did it. Not the words. The rhythm. The old, easy barb had travelled across years and arrived unbroken, and for one mad second Rory could smell lecture halls, wet wool, stale coffee, the sharp tang of rain on campus stone. She looked down at the bottle she had been polishing. Her thumb had gone white around the neck. “What are you doing here?” she asked. Mara gave a small shrug, the movement economical, polished. “Drinking.” “In Soho?” “I have refined tastes.” “You used to steal lager from student nights and call it culture.” “People evolve.” Rory snorted once. “You? Into what?” Mara’s smile sharpened. “That’s a dangerous question.” Rory lifted her chin towards the glass. “You haven’t touched it.” “Testing your hospitality.” “On me, that’s an odd choice.” “You never were great at the obvious.” There it was again. Not a joke, not quite. A nudge under the ribs. Rory reached for the tumbler and set it out of the way, then reached for another glass, less because she needed it and more because her hands had begun searching for work. “You want something or are you here to haunt me in a better coat?” Mara’s gaze held on her a beat too long. “Glenmorangie, if you have it.” Rory poured without looking up. “You used to drink whatever was cheapest.” “Now I’m earning.” “Doing what?” “Surviving.” Rory slid the whisky across. Mara picked it up, turned the glass once between her fingers, then took a sip. Her eyes shut briefly, not from pleasure. From habit. From memory. “Still tastes like a bad decision,” she said. “Some things stay loyal.” Mara set the tumbler down. “You’re merciless tonight.” “You’re the one who walked in here like you owned the place.” “I nearly did once.” Rory looked up. Mara’s expression changed by a fraction, just enough to let the old wound breathe. “The flat above the bookshop on Cowbridge Road. You, me, and a mould problem that could have qualified as a tenant in its own right.” Rory laughed despite herself. “That place collapsed in on itself after we left.” “It waited for us to go. Good manners.” She said it lightly, but the memory sat between them with its dirt under the fingernails. Rory saw the flat again in scraps, the sink full of plates, Mara’s bare feet on the lino, both of them laughing too hard over an essay neither had started. She had not thought about those nights in years, not properly. She had kept them packed away with everything else she never opened. “Why didn’t you call?” Rory asked. Mara’s mouth tightened. “You changed your number.” “I did not.” “You did.” A beat. “Twice.” Rory looked past her to the mirrored back shelf, to the rows of bottles and the old maps nailed to the walls, to the black-and-white photographs of men in suits with expressions like closed doors. “I left Cardiff. I moved. Life happened.” “Life,” Mara repeated, with a dry little turn of the word. “That’s one way to put it.” The phrase struck too close. Rory felt the old reflex rise, the urge to redirect, to throw something bright and sharp into the air and keep everyone from noticing the bruise underneath. Instead she asked, “How long since we last saw each other?” Mara’s eyes moved to the back room door, the one hidden behind the bookshelf at the far end of the bar. For a second Rory thought she had recognised the room’s shape, though that seemed impossible. Then she looked back. “Seven years,” Mara said. “Eight, if you count properly.” “Don’t tell me you’ve become one of those people.” “One of what people?” “The kind who count properly.” “I count money properly. Everything else depends on the mood.” Rory barked a laugh, short and involuntary. Mara watched her like she had won something small and fragile. The Raven’s Nest held its usual low murmur around them, but the room had narrowed to the strip of polished wood between them. A man at the far end muttered into his phone. Glasses chimed in a crate. The green neon sign outside bled through the front window and gave Mara’s face a faint, underwater cast. “You work here?” Mara asked. “Part-time.” “Since when?” “Since always, more or less.” “That sounds like you.” Rory pulled a rag across the bar. “You said you were surviving. Start with the honest bit and work backwards.” Mara rolled the glass in her hand. “I write reports.” “For who?” “A firm.” “That answer’s full of teeth.” “Good. You noticed.” Rory leaned forward a fraction. “You used to talk about journalism.” “I used to talk about a lot of things.” “You used to care.” Mara’s head tipped back, almost elegant. “And you used to think caring was the same as changing anything.” The words sat hard between them. Rory saw the younger version of Mara instantly, all elbows and fury, a law student with ink on her fingers, railing at systems she had no plan to survive. Back then she had believed every outraged speech could crack the world open. Now the woman in front of her looked as if she had spent years learning which cracks led straight to the basement. Rory said, “You disappeared.” “I went somewhere.” “Same difference.” “No.” Mara set the glass down with care. “Not for the people who stayed behind.” Rory’s jaw tightened. She thought of Cardiff in winter, of the walk from the library to the bus stop, of the message she had drafted and deleted and drafted again. She thought of Eva’s face the night she’d turned up in London half-broken and half-defiant, carrying a suitcase with one wheel gone. She thought of the list of names she never said aloud because some of them still had the power to pull blood through stone. “Why now?” she asked. Mara smiled without warmth. “You really don’t like suspense.” “I like not being played.” “I’m not playing.” “That’s worse.” Mara’s fingers, neat and ringless, tapped once against the glass. “I was in the area.” “That’s a lie.” “Of course it is.” Rory felt her pulse tighten under her skin. “You don’t turn up after eight years because you were ‘in the area’.” “No,” Mara said. “I turn up because I needed to see whether you’d still look at me like that.” “Like what?” “Like you’ve already decided what I am.” Rory straightened. “What are you?” Mara’s smile vanished. She reached into her coat pocket and placed something on the bar between them. A small brass key. Old. Heavy. Tarnished at the teeth. Rory stared at it. Her skin prickled. She knew the shape before she knew the object, that ugly little weight of history with its flat bow and worn grooves. “That’s not possible,” she said. Mara kept her hand near it, not touching. “Turns out a lot of things are possible.” Rory did not pick it up. Her throat had gone tight enough to hurt. “Where did you get that?” “I kept it.” “You lost it.” “I kept it.” “You’re lying again.” Mara lifted one shoulder. “A habit.” Rory’s gaze snapped to her face, then to the key again. A memory surged up, uninvited and sharp as a snapped wire, of a locked room in a terraced house off Cathays, of whispering over a desk lamp, of Mara’s grin as she slid the key across the table and said that if the world insisted on hiding secrets, they had every right to steal them. “That key was for my mother’s filing cabinet,” Rory said. “Mmm.” “You said you’d thrown it into the river.” “I said a lot of theatrical nonsense.” Rory let out a breath through her nose. “You stole that from my flat before you left.” Mara’s eyes flashed. “I did not leave first.” The words hit like a shove. Rory’s hand stilled on the rag. “What did you say?” Mara finally touched the key, hooking one finger through the bow. “You knew I was going. You let me walk.” “No. You vanished.” “No.” Mara’s voice went flat, almost courteous. “You found the note and never called.” Rory stared at her. The bar noise seemed to draw away from them, thinned by shock. The old maps on the wall blurred into a tangle of coastlines and routes and dead ends. “There was no note,” Rory said. Mara’s face changed then, just a crack in the mask, but enough to show something raw and animal underneath. “There was.” “There wasn’t.” “I left it on your kitchen table.” “You’re wrong.” “I was there, Rory.” Rory’s fingers curled into the rag hard enough to hurt. “Stop.” Mara shook her head once, slow. “You’d been out. You had that ugly blue mug by the sink, the one with the chip in the handle. I wrote it on the back of a train ticket because I couldn’t find paper.” Rory went cold in a way no bar could explain. She remembered the ticket stub. Not the words. The paper. Folded in four under a sugar bowl. A thing she had thrown away with receipts and old post. She remembered the flat door on the latch. She remembered the empty kitchen. She remembered rage, hot and blind, when Mara did not answer her calls for days after. “You bastard,” she said, softly enough to make it worse. Mara flinched at the male insult, then laughed once, harsh and joyless. “Close, but not quite.” Rory snatched the key before she could think better of it. It sat cold in her palm, absurdly solid, proof of a doorway she had not known still existed. “What do you want?” Mara glanced towards the far end of the bar, where the corridor to the secret room disappeared behind the bookshelf. Her attention lingered there so briefly that another person might have missed it. Rory saw it. Her spine went rigid. “Don’t,” Rory said. Mara looked back. “You still notice everything.” “Not this.” “Your boss does. That’s what worries me.” Silas emerged from the corridor at the exact wrong moment, moving with that measured precision that made his limp seem less like injury than punctuation. He took in the scene in one sweep, his hazel eyes settling first on Mara, then on the key in Rory’s hand. His expression did not alter. That was almost worse. “Aurora.” His voice carried its usual dry weight. “It seems you’ve found a guest.” Mara’s mouth flattened. “Silas Blackwood.” “Miss Vale.” Rory looked from one to the other. “You know each other.” Silas rested a hand on the bar, silver ring glinting under the dim light. “Not well enough to be fond of her.” “Charming,” Mara said. “Efficient.” Rory’s pulse had started to hammer. She did not like the shape of this, the way the room had shifted around a hidden line she had stepped across without seeing. Silas’s gaze moved to the key in her fist. “Where did that come from?” Before Rory could answer, the front door slammed open hard enough to rattle the glasses behind her. A man stumbled inside, one hand pressed to his side. Blood darkened the fabric between his fingers. His eyes found Rory, then Silas, then fixed on the bookshelf at the back as if it had called him by name. He tried to speak. A second figure came through the doorway behind him, fast and silent, face hidden under a dark hood. Silas’s hand went to the shelf edge. Mara reached for Rory’s wrist at the same moment. “Now,” she said. “If you want to live long enough to hate me properly.”
created_at"2026-03-18T10:33:06.935Z" 3/18/2026, 10:33:06 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3716
moderation_latency(null)
generation_time17448
tokens_prompt4618
tokens_completion3688
native_tokens_prompt4131
native_tokens_completion3118
native_tokens_completion_images0
native_tokens_reasoning242
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"
usage0.01712925
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_0e3e153a21a3c8000169ba7f62fdcc8194a171e413687fb857"
is_byokfalse
latency196
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-1773829986-I9tlipyfE6ojGgfB0oxi"
upstream_id"resp_0e3e153a21a3c8000169ba7f62fdcc8194a171e413687fb857"
total_cost0.01712925
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
totalTags20
adverbTagCount0
adverbTags(empty)
dialogueSentences127
tagDensity0.157
leniency0.315
rawRatio0
effectiveRatio0
93.17% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2197
totalAiIsmAdverbs3
found
0
adverb"lightly"
count1
1
adverb"really"
count1
2
adverb"softly"
count1
highlights
0"lightly"
1"really"
2"softly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
77.24% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2197
totalAiIsms10
found
0
word"silence"
count1
1
word"flicked"
count1
2
word"warmth"
count1
3
word"pulse"
count2
4
word"weight"
count2
5
word"measured"
count1
6
word"glinting"
count1
7
word"efficient"
count1
highlights
0"silence"
1"flicked"
2"warmth"
3"pulse"
4"weight"
5"measured"
6"glinting"
7"efficient"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"let out a breath"
count1
highlights
0"let out a breath"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences160
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences160
filterMatches(empty)
hedgeMatches
0"seemed to"
1"started to"
2"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences266
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen55
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2197
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions26
unquotedAttributions0
matches(empty)
10.49% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions97
wordCount1577
uniqueNames10
maxNameDensity2.79
worstName"Rory"
maxWindowNameDensity4.5
worstWindowName"Rory"
discoveredNames
Cardiff2
Vale1
Rory44
Mara40
Raven1
Nest1
Eva1
London1
Cathays1
Silas5
persons
0"Vale"
1"Rory"
2"Mara"
3"Raven"
4"Nest"
5"Eva"
6"Silas"
places
0"Cardiff"
1"London"
globalScore0.105
windowScore0.167
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences93
glossingSentenceCount1
matches
0"seemed impossible"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2197
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences266
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs163
mean13.48
std16.41
cv1.218
sampleLengths
012
133
236
311
45
51
612
7103
810
91
103
111
1227
136
143
1541
1618
177
1810
192
204
2112
222
236
247
2511
263
276
287
2914
3046
3114
3212
333
342
351
3631
378
384
398
4012
414
423
4339
4413
458
4669
476
487
493
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences160
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs256
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences266
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1582
adjectiveStacks0
stackExamples(empty)
adverbCount63
adverbRatio0.03982300884955752
lyAdverbCount10
lyAdverbRatio0.006321112515802781
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences266
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences266
mean8.26
std7.72
cv0.934
sampleLengths
012
12
23
328
411
525
611
75
81
99
103
1140
1220
1314
142
152
164
1721
1810
191
203
211
2213
2311
243
256
263
273
283
292
3033
3110
328
337
349
351
362
374
3812
392
403
413
423
434
447
454
463
476
487
494
43.23% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats18
diversityRatio0.2593984962406015
totalSentences266
uniqueOpeners69
74.07% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences135
matches
0"Just the same clipped, smoky"
1"Instead she asked,"
2"Then she looked back."
ratio0.022
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount32
totalSentences135
matches
0"She set the glass down"
1"Her left wrist brushed the"
2"She had once worn battered"
3"Her mouth held the same"
4"She stopped at Rory’s wrist,"
5"She looked down at the"
6"Her thumb had gone white"
7"Her eyes shut briefly, not"
8"She said it lightly, but"
9"She had not thought about"
10"She had kept them packed"
11"She thought of Cardiff in"
12"She thought of Eva’s face"
13"She thought of the list"
14"She reached into her coat"
15"Her skin prickled."
16"She knew the shape before"
17"Her throat had gone tight"
18"She remembered the ticket stub."
19"She remembered the flat door"
ratio0.237
22.96% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount118
totalSentences135
matches
0"Rory nearly dropped the glass"
1"She set the glass down"
2"Her left wrist brushed the"
3"The woman at the end"
4"Rory forgot how to breathe."
5"The name landed like a"
6"Mara Vale stood beneath the"
7"She had once worn battered"
8"Her mouth held the same"
9"Rory leaned on the bar"
10"Mara’s eyes travelled over her"
11"She stopped at Rory’s wrist,"
12"That did it."
13"The old, easy barb had"
14"She looked down at the"
15"Her thumb had gone white"
16"Mara gave a small shrug,"
17"Rory snorted once."
18"Mara’s smile sharpened."
19"Rory lifted her chin towards"
ratio0.874
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences135
matches
0"Now her hair sat in"
1"Now the woman in front"
2"Before Rory could answer, the"
ratio0.022
96.02% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences61
technicalSentenceCount4
matches
0"Just the same clipped, smoky little burst that used to split late-night seminars in Cardiff and earn them both death looks from lecturers who mistook wit for in…"
1"Mara Vale stood beneath the green spill of the neon sign outside, one hand wrapped around a tumbler she had not touched, the other buried in the pocket of a bla…"
2"Mara’s eyes travelled over her face with a quickness that felt almost rude."
3"Silas emerged from the corridor at the exact wrong moment, moving with that measured precision that made his limp seem less like injury than punctuation."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags20
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags17
fancyCount1
fancyTags
0"Mara repeated (repeat)"
dialogueSentences127
tagDensity0.134
leniency0.268
rawRatio0.059
effectiveRatio0.016
90.5733%