Run: 2026-03-18-01KM08TM67J48DTCTCA04MT7SV

Run Details

Duration:
15.7s
Cost:
$0.014734
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 jammed her shoulder against the oak trunk and nearly lost her footing in the mud. The silver chain bit into her palm as she grabbed the Heartstone Pendant and dragged it out from under her coat. The crimson gem gave one small pulse, warm as a held breath. Ahead, between the standing stones, the clearing opened like a wound in the park, all pale wildflowers and black roots and a silence so thick it seemed pressed into the grass. "Come on, then." Her voice came out thin. She hated that. She pushed through the last curtain of brambles and stopped dead. The grove had not looked like this the first time. The stones still ringed the clearing, the old oak shapes leaning inward as if eavesdropping, but everything felt too neat. The foxgloves stood in straight little ranks. The wildflowers spread in a soft carpet without a single crushed stem. Even the moss on the nearest stone looked brushed. Rory slid her phone back into her pocket. No signal. Useless torch as well, but the screen cast enough light to make the pendant glow deeper in her hand, like a coal remembering fire. She had come because of the note. Three words, written in a sharp, slanted hand on thick cream paper. Bring the pendant. No name. No address. Just a meeting place she had already known by the smell of damp earth and something sweet underneath, something almost like honey. The same place where the pendant had first heated against her chest, months ago, when she had stumbled here after a delivery and found the air bending around the stones. Now she followed the pull of that warmth deeper into the grove. Her boots sank into the ground with a soft, greedy suck. The clearing opened wider than it should have, or maybe she had simply misremembered its edges. She passed a white stone marked with a lichen crack that looked uncannily like a mouth. Another stood nearby, half hidden by briars, its surface scored with old scratches, not quite runes, not quite claw marks. Rory stopped and held the pendant out before her. The crimson gem quivered. Once. Twice. Then it warmed hard in her fingers, as if a hand had closed over it from the other side. "Good. At least one thing here still knows how to behave." She turned. Nothing. Only the grove, the stones, the flowers. A narrow path of flattened grass she had not made, running behind her towards the trees. Rory took one slow breath through her nose. Something sweet rose from the dark, almost like crushed apples, almost like rot cut with perfume. She kept her face still. Panic had a smell too, and she would not feed whatever wanted it. "Eva?" she called. Silence answered, but not empty silence. A listening one. She crouched by the nearest standing stone. The surface felt rough under her fingertips, gritty with age. Near the base, where the moss grew thickest, she found a fresh mark, a wet line drawn through the lichen. A smear. She rubbed it once and lifted her hand. Blood. Not much. A single narrow streak, dark and glossy in the gloom. Rory straightened too quickly. Her head brushed the stone. The impact rang through the clearing in a dull, deep note, and something moved at the edge of her sight. She spun. A shape slipped behind the far stone. Too quick for a person. Too low for a deer. It vanished without a sound. Rory backed up one step, then another, until the pendant tapped her sternum. The chain had gone cold. "Right," she muttered. "Brilliant. Excellent. Fantastic evening choice." No answer. No movement. She should leave. That was the sensible thought, the kind her father had always prized and Evan had always mocked. She had come because the pendant led her here, because the note had promised answers, because somewhere beneath the polished layer of her life something old and ugly had already started chewing through the walls. She had also come because she hated not knowing. That last part won. Rory turned the pendant over in her hand and followed the faint glow as it pulsed once, then again, towards the centre of the grove. She crossed the clearing in short, careful steps, avoiding the flowers. Their petals shivered though nothing touched them. Each time her boot scraped against a root, the sound came back to her a heartbeat late, as if the grove repeated her to itself. At the centre stood a low ring of stones sunk into the earth, half concealed by ivy and flowers. Rory knelt and brushed away the leaves covering the nearest slab. A circle. Cut into the stone. Deep enough to catch dirt. Inside it, more marks. Delicate. Joined. A pattern like a lock made by someone who had forgotten what a lock was for. The pendant burned hot. Rory jerked her hand away and hissed through her teeth. A voice rose behind her, soft as a turned page. "You kept it." She whirled so hard she nearly slipped on the grass. A woman stood between two of the stones. Not tall. Slim. Dressed in a dark coat that drank the little light in the grove. Her face stayed hidden in shadow, but Rory caught the gleam of her eyes, bright and fixed and far too calm. Rory rose slowly, keeping the stone circle at her back. "You sent the note." The woman tilted her head. "You came." "That was the idea, yes." "You brought the pendant." "That was the bit I hated." The woman made a sound that might have been a laugh, if laughter had been stripped of warmth and left out in a draught. "Show me." Rory tightened her grip on the chain. "Not until you tell me who you are." A pause. Then, "Someone who knows why it called to you." The grove seemed to hush around that sentence. Even the insects had gone still. Rory looked at the standing stones, at the blood smear, at the ring etched into the earth beneath her feet. The pendant gave another pulse. Not warm this time. Not quite. More like a slow throb in a healing wound. "That is the kind of answer people give when they want me to do something stupid." "Then you have met enough honest people." Rory snorted once, despite herself. "Not tonight. I am not in the mood for a lesson." The woman took one step closer. Rory caught a glimpse of pale skin, a sharp mouth, a line of silver at her throat. Not jewellery. A scar. "You already entered its grounds. That was the stupid part." The hairs on Rory's arms lifted. "Whose grounds?" The woman looked past her, into the flowers. "You shouldn't ask questions here." Something clicked in the dark. A twig. Or bone. Rory's stomach tightened. She didn't turn. Every instinct told her not to look away from the woman, not when the shape of her had begun to feel like the only fixed point in the grove. "Then answer one. What is this place?" The woman smiled with one side of her mouth. "A bargain that never finished paying out." The pendant flared hot enough to sting. Rory gasped and clutched it to her chest. The crimson gem glowed through her fingers, bright as blood under a lamp. Around her, the flowers bent in a single wave, all towards the same point. The woman said, "Put it away." "No." "Rory." Hearing her name made her skin go cold. No one here should have known it. She looked up sharply. The woman still stood in shadow, but her outline had changed. Not enough to call it different. Enough to make Rory's mouth go dry. The coat hung the same, the posture stayed the same, yet the face had drifted just slightly out of alignment, as if she were seeing it through glass under water. Rory took a step back. "You do not get to use my name like that." Another voice answered from behind her. "Then whose name shall we use?" Rory turned too fast. The air behind her held another figure now, one she had not seen approach. Taller. Still. A man, perhaps, though the face stayed blurred in the dark. He stood at the edge of the stone circle with his hands folded, and every wildflower around his boots bowed inward. Rory backed into the etched slab. Cold stone pressed through her jacket. "You've got about five seconds to explain this before I start breaking things." The first figure smiled wider. The second one did not move at all. "That pendant belongs here," the woman said. "It has opened the door once too often." "Great. Then keep it." Rory held it out towards the nearest stone. "I'm done." The pendant jerked in her hand. Not from her grip. From the grove. The silver chain stretched taut with a shriek of metal. Rory stumbled, fingers slipping, and the crimson gem swung hard against her wrist. The old crescent scar there tingled, then burned. She cried out and clamped her hand to it. The pendant struck the stone circle. The sound that came back was not a chime. Not even close. It was a deep, wet crack, like a branch splitting inside a throat. All around the grove, flowers lifted their heads. Rory stared at the circle. A line had opened in the centre of the etched slab. Thin at first. Black. Then wider. A seam. The air above it thickened, the way glass fogged when she breathed on it, except she had not breathed at all. The woman took a step back. The man said, very softly, "You brought the key." Rory's pulse hammered against her ribs. "I did not bring anything." The seam widened. Something on the far side pressed against it. Not a face. Not yet. A shape. A smear of movement under skin-thin dark. Fingers, perhaps, or roots. It pushed and the stone groaned under the strain. Dust spilled from the carved lines. The pendant shone in brief, furious flashes, each one making the seam gape wider. Rory snatched for the chain. It jerked from her fingers and flew up, the pendant hovering over the circle as if caught on an invisible hook. "No, no, absolutely not." The woman hissed, "Take it back." "I am aware of the problem, thanks." The seam split with a sound like tearing cloth. A hand slid through. Rory could not make sense of it at first. The fingers looked human, long and jointed, but wrong in the way the joints bent, too many angles, skin dark and slick as if ink had soaked through it. Nails, or claws, scraped the stone. Then the wrist followed. Then a second hand. The thing hauled itself halfway through and the flowers around the circle wilted in a single shuddering collapse. Rory moved before thought caught up. She lunged for the pendant, caught the chain in both hands, and yanked hard. Pain lanced up her wrist. The scar there split open into a line of heat. The crimson gem flared so bright it painted her knuckles red. The thing on the stone shrieked. It had a mouth. Rory saw that much as it twisted in the split light, a hole full of needle teeth and wet black depth. The woman shouted something in a language Rory did not know. The man lifted his head. And the grove answered. Every standing stone shivered. Rory stumbled backwards as the ground under the circle cracked from the inside out, thin fractures racing across the slab in a spiderweb pattern. The seam widened into a ragged mouth. Cold air rushed out of it, thick with that sweet, rotten scent, and something on the other side began to climb. Rory wrapped the chain around her fist and hauled with everything she had. The pendant ripped free. For one heartbeat, the grove went still. Then the nearest standing stone split down the middle with a deafening crack, and a shape as tall as a man with no face at all spilled into the clearing, dragging shards of darkness with it.
created_at"2026-03-18T10:45:54.53Z" 3/18/2026, 10:45:54 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency3328
moderation_latency(null)
generation_time15362
tokens_prompt4560
tokens_completion3154
native_tokens_prompt4064
native_tokens_completion2597
native_tokens_completion_images0
native_tokens_reasoning68
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"
usage0.0147345
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_0a8e0d9300ae1dc70169ba826295848194bae525c2c5e062b9"
is_byokfalse
latency182
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-1773830754-2Q7Ce8rqMpuwLa2scOJu"
upstream_id"resp_0a8e0d9300ae1dc70169ba826295848194bae525c2c5e062b9"
total_cost0.0147345
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
totalTags7
adverbTagCount0
adverbTags(empty)
dialogueSentences37
tagDensity0.189
leniency0.378
rawRatio0
effectiveRatio0
85.23% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2031
totalAiIsmAdverbs6
found
0
adverb"quickly"
count1
1
adverb"slowly"
count1
2
adverb"sharply"
count1
3
adverb"slightly"
count1
4
adverb"very"
count1
5
adverb"softly"
count1
highlights
0"quickly"
1"slowly"
2"sharply"
3"slightly"
4"very"
5"softly"
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)
53.23% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2031
totalAiIsms19
found
0
word"pulse"
count3
1
word"silence"
count3
2
word"warmth"
count2
3
word"quivered"
count1
4
word"gloom"
count1
5
word"pulsed"
count1
6
word"etched"
count3
7
word"throb"
count1
8
word"stomach"
count1
9
word"absolutely"
count1
10
word"sense of"
count1
11
word"racing"
count1
highlights
0"pulse"
1"silence"
2"warmth"
3"quivered"
4"gloom"
5"pulsed"
6"etched"
7"throb"
8"stomach"
9"absolutely"
10"sense of"
11"racing"
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
narrationSentences206
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences206
filterMatches(empty)
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences235
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
totalWords2031
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
33.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions38
wordCount1828
uniqueNames6
maxNameDensity1.81
worstName"Rory"
maxWindowNameDensity4
worstWindowName"Rory"
discoveredNames
Heartstone1
Pendant1
Silence1
Evan1
Rory33
Hearing1
persons
0"Pendant"
1"Silence"
2"Evan"
3"Rory"
places(empty)
globalScore0.597
windowScore0.333
67.36% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences121
glossingSentenceCount4
matches
0"seemed pressed into the grass"
1"looked like this the first time"
2"as if eavesdropping but everything felt too neat"
3"not quite runes, not quite claw marks"
4"not quite claw marks"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2031
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences235
matches
0"saw that much"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs129
mean15.74
std16.11
cv1.023
sampleLengths
016
164
23
38
411
558
634
719
83
956
1012
1163
129
136
1419
1511
162
1724
188
1934
203
219
2237
232
248
251
2612
2729
282
2922
3018
318
324
3364
344
3568
3630
3711
3822
394
4010
4110
423
4310
4445
4510
464
475
482
495
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences206
matches
0"been stripped"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs288
matches
0"were seeing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences235
ratio0
matches(empty)
91.68% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1829
adjectiveStacks1
stackExamples
0"under skin-thin dark."
adverbCount78
adverbRatio0.04264625478403499
lyAdverbCount12
lyAdverbRatio0.0065609622744669215
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences235
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences235
mean8.64
std6.92
cv0.801
sampleLengths
016
121
212
331
43
55
63
711
810
920
107
1112
129
138
142
1524
167
1712
183
192
202
2122
2230
2312
2411
2516
2616
2720
289
294
301
311
3219
3311
342
351
367
3716
388
3916
405
4113
423
436
443
457
4610
4720
482
498
41.49% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats20
diversityRatio0.28936170212765955
totalSentences235
uniqueOpeners68
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount11
totalSentences172
matches
0"Even the moss on the"
1"Just a meeting place she"
2"Then it warmed hard in"
3"Only the grove, the stones,"
4"Too quick for a person."
5"Too low for a deer."
6"Even the insects had gone"
7"More like a slow throb"
8"Then the wrist followed."
9"Then a second hand."
10"Then the nearest standing stone"
ratio0.064
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount27
totalSentences172
matches
0"Her voice came out thin."
1"She hated that."
2"She pushed through the last"
3"She had come because of"
4"Her boots sank into the"
5"She passed a white stone"
6"She kept her face still."
7"She crouched by the nearest"
8"She rubbed it once and"
9"Her head brushed the stone."
10"It vanished without a sound."
11"She should leave."
12"She had come because the"
13"She had also come because"
14"She crossed the clearing in"
15"Their petals shivered though nothing"
16"She whirled so hard she"
17"Her face stayed hidden in"
18"She didn't turn."
19"She looked up sharply."
ratio0.157
73.37% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount133
totalSentences172
matches
0"Rory jammed her shoulder against"
1"The silver chain bit into"
2"The crimson gem gave one"
3"Her voice came out thin."
4"She hated that."
5"She pushed through the last"
6"The grove had not looked"
7"The stones still ringed the"
8"The foxgloves stood in straight"
9"The wildflowers spread in a"
10"Rory slid her phone back"
11"She had come because of"
12"The same place where the"
13"Her boots sank into the"
14"The clearing opened wider than"
15"She passed a white stone"
16"Another stood nearby, half hidden"
17"Rory stopped and held the"
18"The crimson gem quivered."
19"A narrow path of flattened"
ratio0.773
29.07% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences172
matches
0"Now she followed the pull"
ratio0.006
91.10% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences69
technicalSentenceCount5
matches
0"The stones still ringed the clearing, the old oak shapes leaning inward as if eavesdropping, but everything felt too neat."
1"Each time her boot scraped against a root, the sound came back to her a heartbeat late, as if the grove repeated her to itself."
2"The coat hung the same, the posture stayed the same, yet the face had drifted just slightly out of alignment, as if she were seeing it through glass under water…"
3"It jerked from her fingers and flew up, the pendant hovering over the circle as if caught on an invisible hook."
4"The fingers looked human, long and jointed, but wrong in the way the joints bent, too many angles, skin dark and slick as if ink had soaked through it."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags7
uselessAdditionCount0
matches(empty)
95.95% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount2
fancyTags
0"she muttered (mutter)"
1"The woman hissed (hiss)"
dialogueSentences37
tagDensity0.162
leniency0.324
rawRatio0.333
effectiveRatio0.108
88.7267%