Run: 2026-03-18-01KM096DMQ02GBGN7TYP69E9ZD

Run Details

Duration:
14.7s
Cost:
$0.012216
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Thriller genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The man clipped the corner too hard and slammed shoulder-first into a black cab, sending the driver’s curse ripping out through the rain. Detective Harlow Quinn lengthened her stride, leather soles striking the pavement in hard, precise beats. The suspect’s coat flashed once under a shop sign, then vanished between a shuttered bakery and a narrow alley where bins spilled sour water and old chip fat. Quinn cut after him without hesitation, one hand on the bruise-coloured sidearm at her hip, the other up against the rain that needled her face. “Oi! Police!” He did not look back. He vaulted a low iron barrier, boots skidding on slick stone, and hit the far pavement running. Quinn followed, jaw clenched, salt-and-pepper hair plastered close to her scalp. A bus hissed past between them, splitting the street with a wall of spray and light. By the time it cleared, the suspect had already crossed into a crowd packed tight beneath shopfront awnings, shoulders hunched, head down, using other bodies as cover. Quinn shoved through them. “Move.” A woman with a shopping bag jerked sideways. A boy in a hooded sweatshirt swore and spun. The suspect rounded a corner, snatched a glance over his shoulder, and nearly collided with a florist’s display of white lilies laid out in metal buckets. Petals tore free and skated across the wet pavement like small pale hands. Quinn caught the smell of bruised stems, petrol, and wet wool as she hit the same corner and saw him sprinting for the Tube entrance. Not the platform. The street staircase. Camden, all dark brick and iron railings, the steps slick with rain and old gum. A broken advert panel shuddered beside the entrance, plastered with gig posters and a half-torn warning about closures. The suspect took the stairs two at a time. Quinn closed the gap. He was lean, all elbows and panic, with a shaved head and a cheap navy coat that flapped behind him. In his right hand he carried a folded cloth bag tucked tight against his ribs. That bag mattered. He had bled for it once already, from the smear of red on his cuff and the way he kept his left arm tucked in like it hurt to move. “Stop him!” The shout came from behind, another copper, farther back, blocked by the crowd and the rain. Quinn ignored it and drove down the steps. The air changed at the bottom. Diesel and wet concrete gave way to something colder, metallic, and faintly sweet, like burnt sugar over rot. A single fluorescent strip buzzed above the disused ticket hall. Graffiti climbed the tiled walls, layered over old route maps and peeling notices. A homeless man tucked into a sleeping bag near the wall lifted his head, saw Quinn’s face, and pressed himself flat again. The suspect hit the barrier to the abandoned line and yanked at a rusted service door hidden behind a vending machine shell. Locked. He slammed the heel of his hand against it, cursed, then spun when he heard Quinn’s boots on the stairs behind him. For one raw second they faced each other in the yellow light. Rain ran from both of them in black lines. “Drop the bag.” He bared his teeth. “Not for you.” “Your choice just narrowed.” His gaze flicked past her, up the stairs, as if weighing his route. Quinn saw it then, the split second of calculation. He knew this station. Knew something under it. His fingers tightened on the cloth bag, and he bolted left, into a service corridor marked with a faded red sign: STAFF ONLY. Quinn lunged after him. The corridor narrowed fast, brick pressing in on both sides. Old pipes ran along the ceiling, hissing with trapped damp. Drips tapped somewhere in the darkness, steady as a clock. The suspect crashed through a hanging plastic strip curtain and disappeared into a wider chamber beyond. Quinn shoved through the curtain and nearly stopped dead. A market spilled out under the earth. Rows of low stalls packed the platform, their tables lit by oil lamps, bare bulbs, and small green jars that glowed from within. Canvas awnings sagged beneath the tiled ceiling. People moved between them with faces half-hidden by scarves, hats, hoods, masks. Some wore ordinary coats, some wore things Quinn could not place at a glance, leather stitched with bone beads, velvet collars too fine for the dirt underfoot, rings that caught the light and threw it back in bruised colours. The smell hit her in layers. Hot metal. Herbs crushed under boots. Blood, sharp enough to taste. Spice smoke. A chemist’s sour reek of alcohol and ammonia. Somewhere, under it all, the damp mineral stink of old tunnels. The suspect plunged into the crowd without slowing. Quinn stepped after him and felt the market’s gaze settle on her skin. Heads turned. Conversations died in pockets and restarted just as fast, lower now, tighter. A woman behind a stall of tarnished silver charms watched Quinn over the rim of her spectacles and touched two fingers to a little bone pendant at her throat. Another man, broad shouldered and gaunt, laid a hand on the handle of a knife displayed beside a tray of black candles. Quinn showed her warrant card to no one. She kept moving. The suspect shoved past a stall draped with red velvet, nearly toppling a glass case of labelled vials. A splash of green liquid sloshed hard against the inside, and the seller spat a curse in a language Quinn did not know. The suspect’s elbow clipped a hanging rack of amulets. They chimed together, a delicate, hateful sound. “Police!” Quinn snapped again. A ripple went through the nearest cluster of buyers. Nobody ran. That was worse. The suspect cut hard right and vanished down a side lane formed by stacked crates and curtained booths. Quinn followed, hand now clear of her holster, not because she trusted the crowd but because she trusted distance less. Three figures stood in the lane ahead, shoulders blocking it, faces hidden beneath surgical masks painted with silver mouths. Quinn clocked the shape of the danger before the men spoke. One of them lifted a finger and pointed at her badge. “Wrong door.” “Out of the way.” The one in the centre tilted his head. “You don’t have bone.” Quinn did not slow. “I’ve got a warrant and a temper.” The man on the left gave a dry little laugh. “Neither opens this place.” Something moved behind them. The suspect ducked into a curtained archway and disappeared. Quinn planted herself squarely in front of the masked men. Her brown eyes did not blink. “Step aside.” The centre man’s gaze slid over her, taking in the soaked coat, the tension in her shoulders, the old leather watch on her wrist. “Metropolitan. Heavier boots than your lot usually wear. You came down here with a name or you came down here chasing ghosts?” The last word landed too cleanly. Quinn felt the old, sour heat of it in her chest, the kind that never belonged in an official report. “Move.” He smiled under the painted mask. She could hear it in his voice. “Bad night for stubbornness.” Before Quinn could answer, a shriek cut across the platform. Metal screeched. A table overturned. Someone shouted, and the market lurched into motion around the noise. The three masked men stepped back, not in fear but in annoyance, as if the disturbance had ruined a deal. Quinn used the opening and slipped past them. The archway opened onto a wider tunnel lined with tarpaulin walls and strings of dangling charms. A naked bulb swung overhead on a wire, throwing hard light across the wet floor. The suspect stood near the far end, one hand pressed to a wall as if he needed it to hold him upright. His coat hung open now. Dark blood soaked the sleeve beneath his elbow. He looked up when she entered. “You should leave it.” “Start with a better line.” His expression twitched, almost a grin, but pain cut through it. He shifted the cloth bag under his arm. Quinn took two measured steps. “What’s in the bag?” “Nothing you want.” “Then hand it over and save us both the theatre.” Behind her, the market noise rolled and shifted. Feet moved. Voices lifted and fell. A glass bottle shattered somewhere close by. Quinn did not turn her head, but she heard the change in the tunnel, the way people had started to reposition. Watching. Listening. The suspect drew a shallow breath. “You don’t know what’s down here.” “I know enough.” “No. You know roofs and roads and polite lies. Down here, your badge means less than the dirt on your shoe.” “Funny. I was about to say the same about your face.” That earned her a flash of teeth, but the humour died fast. He looked past her shoulder, eyes widening just slightly. Quinn felt it before she heard it, the heavy shift of bodies in the tunnel behind her. A voice spoke from the market lane, low and cutting. “Step away from the merchandise, Detective.” Quinn turned. Another figure had entered the tunnel, and even before she saw the face she knew the posture. Military precision. Straight spine. Controlled hands. Detective Harlow Quinn’s own reflection in a cleaner, more obedient mirror. Harlow Quinn, brown-eyed, close-cropped, every inch of her measured authority sharpened into a second blade. No. Detective Quinn had not seen enough of the market to mistake this for coincidence. She took in the worn leather watch on the other woman’s left wrist, the sharp jaw, the stillness around her mouth. The Metropolitan Police badge sat clipped inside her coat, but she wore it like a threat instead of a promise. “Now that’s interesting.” The suspect stared between them. “You brought a tail?” “Hardly.” The other Quinn’s eyes fixed on the suspect’s bloodied sleeve, then moved to the cloth bag. “You’ve got five seconds before I start making arrests.” The suspect laughed once, thin and ugly. “You couldn’t arrest your way out of a paper sack down here.” “Try me.” The market noise died further back. Quinn heard a chain rattle. A door closed. Somewhere nearby, something heavy dragged over stone. Then a woman’s voice slid out of the darkness behind the other detective. “Quinn. You brought the uniformed sort.” Tomás Herrera stepped into the tunnel from the market lane, one hand already pushing up the sleeves of his wet grey jumper. His short dark curls clung to his forehead. The Saint Christopher medallion at his throat flashed once in the lamp light. He looked at the blood on the suspect’s coat, then at the two detectives, and gave a tired shake of his head. “You lot always do this in public?” “Herrera,” Quinn said. “Detective.” His mouth tightened around the title, as if it tasted wrong. “You are standing in a place that sells knives with names and powders that remember your dreams. Could we not do the shouting here?” The other Quinn’s stare sharpened. “And who are you supposed to be?” Herrera shrugged one shoulder. “The man who stitches people back together when your badges break them.” The suspect flinched at that, and Quinn caught it. Recognition. The blood on the sleeve. So Herrera knew him. The old confidence in Quinn’s spine cooled to a hard, clean line. She looked from Herrera to the bag, then at the tunnel exits, all of them now narrowing under the weight of movement from the market. She heard boots on stone, multiple pairs, closing from both sides. The other Quinn’s hand drifted near her coat. “Last chance.” The suspect backed towards the far wall, eyes darting. “You don’t want what’s in here.” Quinn took one step forward. Then Herrera snapped, “Don’t.” Too late. The suspect ripped the cloth bag open. Something pale and wet dropped into his palm, not flesh, not stone, something between the two, marked with dark grooves that shone like old scars. The tunnel lights shivered. The charms hanging overhead began to rattle in a quick, frantic tick-tock. Across the market, someone screamed. The other Quinn drew her weapon. Herrera reached for Quinn’s arm. The suspect slammed the object against the wall, and the brick split with a sound like a jaw breaking. Darkness poured out.
created_at"2026-03-18T10:52:21.04Z" 3/18/2026, 10:52:21 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency392
moderation_latency(null)
generation_time14439
tokens_prompt4663
tokens_completion3220
native_tokens_prompt4132
native_tokens_completion2602
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached3840
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.012216
router(null)
provider_responses
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endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_0ae75bd8a9926c5c0169ba83e517a08190b2752ef64a8ffbf9"
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"
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upstream_id"resp_0ae75bd8a9926c5c0169ba83e517a08190b2752ef64a8ffbf9"
total_cost0.012216
cache_discount0.002592
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags4
adverbTagCount2
adverbTags
0"Quinn snapped again [again]"
1"His mouth tightened around [around]"
dialogueSentences42
tagDensity0.095
leniency0.19
rawRatio0.5
effectiveRatio0.095
97.57% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2058
totalAiIsmAdverbs1
found
0
adverb"slightly"
count1
highlights
0"slightly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
75.70% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2058
totalAiIsms10
found
0
word"jaw clenched"
count1
1
word"flicked"
count1
2
word"velvet"
count2
3
word"tension"
count1
4
word"lurched"
count1
5
word"measured"
count2
6
word"shattered"
count1
7
word"weight"
count1
highlights
0"jaw clenched"
1"flicked"
2"velvet"
3"tension"
4"lurched"
5"measured"
6"shattered"
7"weight"
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
emotionTells1
narrationSentences169
matches
0"t in fear"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount2
narrationSentences169
filterMatches
0"watch"
hedgeMatches
0"started to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences207
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen39
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2058
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions4
unquotedAttributions0
matches(empty)
33.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions59
wordCount1821
uniqueNames9
maxNameDensity2.31
worstName"Quinn"
maxWindowNameDensity4
worstWindowName"Quinn"
discoveredNames
Harlow3
Quinn42
Tube1
Metropolitan1
Police1
Herrera6
Saint1
Christopher1
Detective3
persons
0"Harlow"
1"Quinn"
2"Herrera"
3"Saint"
4"Christopher"
5"Detective"
places(empty)
globalScore0.347
windowScore0.333
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences118
glossingSentenceCount2
matches
0"as if weighing his route"
1"something between the two, marked with dark gro"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.486
wordCount2058
matches
0"not in fear but in annoyance, as if the disturbance had ruined a deal"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences207
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs96
mean21.44
std21.88
cv1.021
sampleLengths
023
168
22
35
471
54
61
756
825
948
104
1168
122
1324
1469
1545
1621
173
187
194
2053
214
2255
237
2481
2538
268
2778
2811
2957
304
3114
3268
3311
342
354
3612
3711
3814
3913
4016
412
4246
4326
441
4517
4646
478
4866
496
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences169
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs300
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences207
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1830
adjectiveStacks0
stackExamples(empty)
adverbCount46
adverbRatio0.025136612021857924
lyAdverbCount9
lyAdverbRatio0.004918032786885246
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences207
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences207
mean9.94
std7.41
cv0.745
sampleLengths
023
115
228
325
42
55
617
711
816
927
104
111
128
139
1426
1513
1625
173
183
1915
2018
219
224
2320
2415
253
2630
272
2816
298
306
3118
3210
3313
3422
3522
361
3722
3812
399
403
414
423
434
4413
459
464
474
4823
494
65.22% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats5
diversityRatio0.4057971014492754
totalSentences207
uniqueOpeners84
87.72% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences152
matches
0"Somewhere, under it all, the"
1"Somewhere nearby, something heavy dragged"
2"Then a woman’s voice slid"
3"Then Herrera snapped,"
ratio0.026
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount25
totalSentences152
matches
0"He did not look back."
1"He vaulted a low iron"
2"He was lean, all elbows"
3"He had bled for it"
4"He slammed the heel of"
5"He bared his teeth."
6"His gaze flicked past her,"
7"He knew this station."
8"His fingers tightened on the"
9"She kept moving."
10"They chimed together, a delicate,"
11"Her brown eyes did not"
12"He smiled under the painted"
13"She could hear it in"
14"His coat hung open now."
15"He looked up when she"
16"His expression twitched, almost a"
17"He shifted the cloth bag"
18"He looked past her shoulder,"
19"She took in the worn"
ratio0.164
15.92% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount135
totalSentences152
matches
0"The man clipped the corner"
1"Detective Harlow Quinn lengthened her"
2"The suspect’s coat flashed once"
3"Quinn cut after him without"
4"He did not look back."
5"He vaulted a low iron"
6"Quinn followed, jaw clenched, salt-and-pepper"
7"A bus hissed past between"
8"Quinn shoved through them."
9"A woman with a shopping"
10"A boy in a hooded"
11"The suspect rounded a corner,"
12"Petals tore free and skated"
13"Quinn caught the smell of"
14"The street staircase."
15"Camden, all dark brick and"
16"A broken advert panel shuddered"
17"The suspect took the stairs"
18"Quinn closed the gap."
19"He was lean, all elbows"
ratio0.888
65.79% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences152
matches
0"By the time it cleared,"
1"Before Quinn could answer, a"
ratio0.013
87.20% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences77
technicalSentenceCount6
matches
0"The man clipped the corner too hard and slammed shoulder-first into a black cab, sending the driver’s curse ripping out through the rain."
1"Quinn cut after him without hesitation, one hand on the bruise-coloured sidearm at her hip, the other up against the rain that needled her face."
2"His gaze flicked past her, up the stairs, as if weighing his route."
3"Rows of low stalls packed the platform, their tables lit by oil lamps, bare bulbs, and small green jars that glowed from within."
4"Some wore ordinary coats, some wore things Quinn could not place at a glance, leather stitched with bone beads, velvet collars too fine for the dirt underfoot, …"
5"Something pale and wet dropped into his palm, not flesh, not stone, something between the two, marked with dark grooves that shone like old scars."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags4
uselessAdditionCount1
matches
0"His mouth tightened around, as if it tasted wrong"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount2
fancyTags
0"Quinn snapped again (snap)"
1"Herrera snapped (snap)"
dialogueSentences42
tagDensity0.071
leniency0.143
rawRatio0.667
effectiveRatio0.095
87.6151%