Run: 2026-03-18-01KM08GK54AXM2P3FRPDV7B0D4

Run Details

Duration:
15.4s
Cost:
$0.015783
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Horror 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> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</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 horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Rory shoved the last branch aside and froze with one boot in the mud and the other caught on a root. Something breathed on the other side of the standing stones. She held still. Her fingers tightened around the little torch in her left hand, knuckles whitening round the grip. The beam trembled across an ancient oak trunk, then snagged on a ring of wildflowers pressed up against the stone base, pale petals trembling without any wind. No footsteps. No rustle of leaves. Just that wet, patient inhale. “Right,” she muttered. “That’s cheerful.” The breath stopped. She stepped through the gap between the oaks anyway, because turning round would have meant admitting she had brought herself to the edge of Richmond Park for nothing. The Grove had called to her for three nights in a row now, not in words, not in dreams, but in those little pulls that lived under her skin. The pendant had answered each time, the crimson stone warming against her chest until it felt almost alive, as if some buried thing recognised its own. Tonight it had gone hot in the back of Silas’ bar, right through her shirt, right through the scar on her wrist. Hot enough to make her hiss and stare down at the silver chain as if it had bitten her. Yu-Fei’s final delivery had sent her west with a note folded into the restaurant receipt, three neat lines and no signature. Bring the pendant to the grove alone. She had laughed once when she read it, because it was either laugh or call the police, and the police had never helped when things turned strange. Not in Cardiff. Not in London. Not with Evan. Not with anything that slunk at the edges of her life and waited for her to go soft. So here she was. The path narrowed between the oaks. Their bark rose in rough, twisting ridges, dark and damp under her palm when she brushed one for balance. The standing stones loomed ahead, half-hidden by growth, each one carved by age into a shape that looked more like a warning than a monument. Wildflowers crowded the ground around them, white and blue and gold, impossible in their cheerfulness. The place smelt green and raw, like crushed stems and wet earth and something sweeter beneath, something almost like bruised apples left too long in a bowl. Rory stopped at the ring. The pendant warmed. Not much. Just enough to prick at her nerves. She drew it out from under her shirt. The crimson gem glimmered with a dull inner pulse, faint as a heartbeat heard through a wall. “Happy now?” she whispered. The stone gave no answer. It never did. But the warmth sharpened, then eased, like a hand gripping and releasing. Behind her, a twig snapped. Rory spun. Torch beam slashed the dark trees. Nothing. The path she had come down lay empty, only shadows and roots and the black mouth of the opening between the oaks. She stared until her eyes began to ache. Then she heard it again. A footstep. Not close. Not far, either. A careful tread on leaf litter, measured and soft. Someone moving where she could not see them. Her pulse gave a hard thud. She tightened the pendant in her fist and forced herself to breathe through her nose. “Who’s there?” Silence. The grove answered with a low rustle from all sides, as if something large had shifted in the undergrowth and settled down to watch. Rory angled the torch around the circle. The beam skimmed across moss, stone, flower heads bent over in clusters. Her light caught one of the standing stones and slid over a carved groove that looked new against the old surface, as though fingers had worried at it recently. Her throat went dry. She stepped closer. The groove curved into a pattern. Not a symbol she knew, not quite, but familiar in the wrong way, like a tune heard in a different key. The pendant ticked once against her palm. Tick. She jerked and looked down. The crimson stone had brightened. A pulse of heat rolled through her hand, then up her wrist, licking at the crescent scar there until the skin tightened. “No,” she said. The grove breathed again. This time the sound came from the stone ring itself, a long, soundless exhale through a mouth that did not exist. Rory backed away so fast her heel caught a root and she stumbled, catching herself on the rough side of another stone. Something cold brushed the nape of her neck. She whipped round, torch swinging wide. A shape stood at the edge of the circle. Tall. Thin. Too still to be human. The light touched it for half a second and broke apart, as if the thing wore darkness the way a person wore a coat. She saw an angle of pale face, or maybe bark, and an eye that reflected nothing at all. Rory backed towards the centre stone. The shape did not follow. It tilted its head. Then it was gone. Her torch beam ripped across empty air. Her breath came sharp now, shallow enough to hurt. She forced herself to scan the shadows again, slower this time, jaw clenched hard enough to ache. Nothing. Only the stones. The flowers. The dark trees beyond the ring. Only the certainty that something had moved and wanted her to notice. She swallowed and looked down at the pendant. Its glow had deepened. The gem threw a dim red stain over her fingers. “Is that what you wanted?” she whispered. “A look at the scenery? Because I am not in the mood.” A faint sound answered from deep within the grove. Not a voice. Not quite. A child’s laugh, thin as spider silk. Rory went still. Her skin prickled along her arms. The laugh had come from the left, near a patch of white flowers clustered against a stone. She swung the torch that way. The beam hit blossoms, stems, dirt. A little leather shoe lay on the ground. She stared at it. It looked old, scuffed at the toe, the kind with a strap across the top, black leather gone grey with age. A child’s shoe. Small enough to fit in one hand. Her stomach turned. There had been no shoe when she entered. The pendant burned against her palm. “Enough.” The voice came from behind her. Rory turned so fast pain shot through her shoulder. A woman stood just outside the ring of stones. She wore a long coat the colour of wet ash and kept her hands tucked into its pockets. Her hair hung dark and straight round a face so pale it seemed carved from milk glass. She looked as if she had stepped out of the grove itself, silent and patient and dreadful. Rory lifted the torch higher. “You’re late.” The woman’s mouth barely moved when she spoke. Her voice carried an old softness under the clipped edge of command. “Who the hell are you?” “Not relevant. You brought the Heartstone.” Rory’s grip tightened so hard the silver chain bit into her fingers. “Who told you that?” “No one.” A faint, cold smile touched the woman’s lips. “That is the problem.” Rory did not like the way she looked at the pendant, not with greed, not with hunger, but with recognition. Like something long misplaced had just been set down in front of her. “Step back,” Rory said. The woman did not. The grove changed around her. Rory felt it before she saw it, a tightening in the air, like a held breath about to snap. The flowers shivered in unison. The stones gave off a dim, inner gleam along their grooves. “Put it down.” “No.” A silence followed, deep enough to make her ears ring. Then the woman inclined her head, as if humoured. “You came because it called you. You know that much. You are not here for courage. You are here because you cannot ignore a wound once it begins to speak.” Rory stared at her. “You know my name.” “Of course I do.” The torchlight flickered. Not the battery. The flame at the lamp’s core shuddered, stretched thin, then steadied. Rory’s chest tightened. Behind the woman, the dark between the trees thickened. More shapes stood there now, too tall, too narrow, with the same unmoving patience. Her mouth went dry. The woman lifted one hand from her pocket and pointed past Rory, to the stone behind her. “You are standing on the threshold.” Rory glanced over her shoulder. The centre stone had split. Not cracked. Split. A seam opened through its ancient face, narrow at first, then widening with a wet, stone-on-stone groan. Red light leaked from within, not bright, but deep, as if the rock held a heart buried inside it. The pendant throbbed in her hand. A tremor ran through the ground. Rory stumbled and caught herself as the flowers around her shifted, stems bending in one direction, then another, as though something enormous had passed beneath the earth and turned in its sleep. “Shit,” she breathed. The woman’s eyes fixed on the pendant. “You brought it here too soon.” “I didn’t have a calendar,” Rory snapped. Her pulse hammered in her throat. “What’s under there?” The woman’s gaze slid to the split stone. For a moment, something like reluctance crossed her face. “A door.” The seam widened. A thin scent curled out. Old iron. Damp roots. Burnt sugar. Rory’s stomach twisted harder. The pendant had gone hot enough to hurt now, searing her skin through the shirt. She yanked the chain off and dropped it into her other hand. The crimson gem pulsed. Once. Twice. Then it flashed, and every shadow in the grove lurched. Rory heard footsteps around her. Not one pair. Many. Bare feet, careful and light, circling the stones. The sound came from all directions at once, soft and close and dreadful. She turned in place, torch jerking wildly, and caught movement between the trunks, pale faces vanishing behind bark, hands like branches curling out of sight. The woman cursed under her breath. “You brought their attention.” “I’m sorry,” Rory said, and the words came out sharp enough to cut. “I’ll ask them to look away.” Another laugh drifted through the ring. This one came from right beside her ear. Rory spun and slashed the torch through empty air. A child’s hand, pale and thin, vanished behind the centre stone. Not flesh. Not quite. Something like it, stretched too long over small bones. The pendant flared. The split in the stone yawned wider. A black shape stirred inside. Rory backed away, heart battering at her ribs. The woman moved at the same time, crossing the ring in three quick strides. “Give it to me.” “Not happening.” “Rory.” The use of her name hit like a slap. She looked up. The woman’s expression had changed. Gone was the faint smile, gone the detached poise. Something urgent and raw sat under her skin now, and it made her look more dangerous, not less. “Now.” Rory opened her mouth to answer, but the thing inside the stone breathed. The sound rolled across the grove like a tide dragging something heavy over sand. Every flower head drooped. The trees around the ring bent inwards by a fraction, as if listening. Then the black shape pressed against the split. A hand emerged first, long-fingered and grey, nails black and curved. Then another. The fingers hooked into the stone and pulled. Rory stumbled back again, almost tripping over the little leather shoe. The torch beam found it, and for one sick instant she saw the inside lined with dried red mud or something worse. The woman snatched at Rory’s wrist. Rory jerked away on instinct, but the touch landed cold against her scarred skin and the pendant exploded with heat. A thin scream split the air. Not from the grove. From her own throat. Light burst from the crimson gem, harsh and red, flooding the stones, the flowers, the woman’s face. The thing inside the split stone recoiled with a sound like tearing cloth. The hand vanished. The seam slammed halfway shut, then wedged open again on something unseen. The woman stared at Rory’s wrist. Her face had gone white. “No,” she whispered. Rory followed her gaze. The scar on her wrist had lit from within, a crescent of dull red beneath the skin, matching the pendant’s glow. Heat raced up her arm. She clenched her teeth against a cry. “What have you done to me?” But the woman was already looking past her. Rory turned. The standing stones had begun to move. Not much. Just enough to make the eyes doubt what they saw. One leaned closer than it had before. Another had shifted its carved grooves into a pattern that looked almost like a mouth. The shapes among the trees had come forward, and now she could see that none of them stood on feet. They hovered a hand’s breadth above the ground, long robes or roots or shadows trailing beneath them. One of them raised a thin hand and pointed at her pendant. Then it smiled. Rory’s breath caught. The smile stretched too wide, too far, revealing not teeth but layers of dark, wet hollows. The woman grabbed Rory’s shoulder. “Run.” The grove answered with a chorus of child laughter, all of it coming from the same place at once, and the stone behind them split open to the sound of something enormous exhaling from the dark.
created_at"2026-03-18T10:40:25.789Z" 3/18/2026, 10:40:25 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency422
moderation_latency(null)
generation_time15143
tokens_prompt4560
tokens_completion3513
native_tokens_prompt4064
native_tokens_completion2830
native_tokens_completion_images0
native_tokens_reasoning0
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"
usage0.015783
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_0dc6238175c7d2b50169ba8119d8a08197ba566ae97976a83d"
is_byokfalse
latency194
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-1773830425-PR3F4oDiOHXpb18w1SaC"
upstream_id"resp_0dc6238175c7d2b50169ba8119d8a08197ba566ae97976a83d"
total_cost0.015783
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
totalTags11
adverbTagCount0
adverbTags(empty)
dialogueSentences36
tagDensity0.306
leniency0.611
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2263
totalAiIsmAdverbs0
found(empty)
highlights(empty)
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
46.97% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2263
totalAiIsms24
found
0
word"trembled"
count1
1
word"footsteps"
count2
2
word"almost alive"
count1
3
word"loomed"
count1
4
word"pulse"
count4
5
word"warmth"
count1
6
word"measured"
count1
7
word"silence"
count2
8
word"familiar"
count1
9
word"jaw clenched"
count1
10
word"silk"
count1
11
word"stomach"
count2
12
word"flickered"
count1
13
word"throbbed"
count1
14
word"searing"
count1
15
word"pulsed"
count1
16
word"lurched"
count1
17
word"raced"
count1
highlights
0"trembled"
1"footsteps"
2"almost alive"
3"loomed"
4"pulse"
5"warmth"
6"measured"
7"silence"
8"familiar"
9"jaw clenched"
10"silk"
11"stomach"
12"flickered"
13"throbbed"
14"searing"
15"pulsed"
16"lurched"
17"raced"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"jaw/fists clenched"
count1
highlights
0"jaw clenched"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences234
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences234
filterMatches
0"look"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences260
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
totalWords2263
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions0
matches(empty)
33.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions40
wordCount2106
uniqueNames8
maxNameDensity1.57
worstName"Rory"
maxWindowNameDensity4
worstWindowName"Rory"
discoveredNames
Richmond1
Park1
Grove1
Hot1
Cardiff1
London1
Evan1
Rory33
persons
0"Evan"
1"Rory"
places
0"Richmond"
1"Park"
2"Grove"
3"Cardiff"
4"London"
globalScore0.717
windowScore0.333
59.42% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences138
glossingSentenceCount5
matches
0"not quite but familiar in the wrong way, like a tune heard in a different key"
1"seemed carved from milk glass"
2"something like reluctance crossed her face"
3"Something like it, stretched too long over s"
4"as if listening"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches9
per1kWords3.977
wordCount2263
matches
0"not in words, not in dreams, but in those little pulls"
1"not in dreams, but in those little pulls"
2"Not a symbol she knew, not quite, but familiar in the wrong way, like a tune heard in a different"
3"not quite, but familiar in the wrong way, like a tune heard in a different"
4"not like the way she looked at the pendant, not with greed, not with hunger, but with recognition"
5"not with greed, not with hunger, but with recognition"
6"not with hunger, but with recognition"
7"not bright, but deep, as if the rock held a heart buried inside it"
8"not teeth but layers of dark, wet hollows"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences260
matches
0"see that none"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs157
mean14.41
std16.31
cv1.131
sampleLengths
021
110
246
311
45
53
683
741
821
97
1054
114
1292
135
143
159
1625
174
1820
195
2031
218
225
232
2422
2521
262
271
2824
2948
304
313
3234
331
345
3527
363
374
3843
398
406
419
427
4342
446
455
464
474
487
4926
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences234
matches
0"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs349
matches
0"was already looking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences260
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount266
adjectiveStacks0
stackExamples(empty)
adverbCount8
adverbRatio0.03007518796992481
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences260
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences260
mean8.7
std7.15
cv0.822
sampleLengths
021
110
23
316
427
52
64
75
83
92
103
1128
1229
1326
1422
1519
1621
177
1827
193
203
213
2218
234
246
2519
2625
2715
2827
295
303
312
327
338
3417
354
365
373
3812
395
402
416
421
4322
448
455
462
472
483
499
41.92% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats21
diversityRatio0.2653846153846154
totalSentences260
uniqueOpeners69
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount12
totalSentences200
matches
0"Just that wet, patient inhale."
1"Just enough to prick at"
2"Then she heard it again."
3"Too still to be human."
4"Then it was gone."
5"Only the stones."
6"Only the certainty that something"
7"Then the woman inclined her"
8"Then it flashed, and every"
9"Then the black shape pressed"
10"Just enough to make the"
11"Then it smiled."
ratio0.06
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount39
totalSentences200
matches
0"She held still."
1"Her fingers tightened around the"
2"She stepped through the gap"
3"She had laughed once when"
4"Their bark rose in rough,"
5"She drew it out from"
6"It never did."
7"She stared until her eyes"
8"Her pulse gave a hard"
9"She tightened the pendant in"
10"Her light caught one of"
11"Her throat went dry."
12"She stepped closer."
13"She jerked and looked down."
14"She whipped round, torch swinging"
15"She saw an angle of"
16"It tilted its head."
17"Her torch beam ripped across"
18"Her breath came sharp now,"
19"She forced herself to scan"
ratio0.195
60.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount160
totalSentences200
matches
0"Rory shoved the last branch"
1"Something breathed on the other"
2"She held still."
3"Her fingers tightened around the"
4"The beam trembled across an"
5"The breath stopped."
6"She stepped through the gap"
7"The Grove had called to"
8"The pendant had answered each"
9"Tonight it had gone hot"
10"Yu-Fei’s final delivery had sent"
11"She had laughed once when"
12"The path narrowed between the"
13"Their bark rose in rough,"
14"The standing stones loomed ahead,"
15"Wildflowers crowded the ground around"
16"The place smelt green and"
17"Rory stopped at the ring."
18"The pendant warmed."
19"She drew it out from"
ratio0.8
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences200
matches(empty)
ratio0
76.19% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences75
technicalSentenceCount7
matches
0"The pendant had answered each time, the crimson stone warming against her chest until it felt almost alive, as if some buried thing recognised its own."
1"The standing stones loomed ahead, half-hidden by growth, each one carved by age into a shape that looked more like a warning than a monument."
2"The grove answered with a low rustle from all sides, as if something large had shifted in the undergrowth and settled down to watch."
3"Her light caught one of the standing stones and slid over a carved groove that looked new against the old surface, as though fingers had worried at it recently."
4"This time the sound came from the stone ring itself, a long, soundless exhale through a mouth that did not exist."
5"Red light leaked from within, not bright, but deep, as if the rock held a heart buried inside it."
6"Rory stumbled and caught herself as the flowers around her shifted, stems bending in one direction, then another, as though something enormous had passed beneat…"
79.55% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount1
matches
0"Rory said, and the words came out sharp enough to cut"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount6
fancyTags
0"she muttered (mutter)"
1"she whispered (whisper)"
2"she whispered (whisper)"
3"she breathed (breathe)"
4"Rory snapped (snap)"
5"she whispered (whisper)"
dialogueSentences36
tagDensity0.25
leniency0.5
rawRatio0.667
effectiveRatio0.333
79.9129%