Run: 2026-03-18-01KM097M45NYVBS0NJNG0KXTWB

Run Details

Duration:
15.9s
Cost:
$0.016490
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
“Rory?” The glass slipped in Aurora Carter’s hand and skidded across the bar, leaving a wet crescent in the spilled beer. She caught it before it hit the floor, heart already kicking against her ribs, and looked up into a face she had once known better than her own. “Eva.” Eva stood half-turned in the doorway, one hand still on the brass handle, as if she had walked in by mistake and had not yet decided whether to leave. Her coat hung loose on a frame that had sharpened where it once had softness. The hair was cut blunt at her jaw now, dark and glossy and severe. Her mouth, always made for laughter, had settled into a line that did not ask permission. Only her eyes gave her away, a fraction too wide, a flicker too quick. Aurora wiped her palms on her apron. Silas Blackwood glanced over from the far end of the bar, one grey-streaked brow lifting beneath the green glow of the Raven’s Nest sign leaking through the glass. He took in Eva, took in Aurora, and his expression shifted into the faint, watchful neutrality he used when he wanted to look like a man who saw nothing at all. “I know that face,” he said, not unkindly. “Either trouble has walked in, or it’s owed money.” Eva’s gaze slid past him, landed on Aurora again, and then held. “You always did enjoy a dramatic entrance.” “You used to call me a coward for avoiding them.” “That was before you got sensible.” Aurora let out a breath that sounded too much like a laugh and too little like one. She leaned down, set the glass behind the bar, and kept her hands busy with a cloth and a bottle she did not need to touch. “You’re in London.” “So are you.” “No, I mean here. In this dive. In Soho. In my bar.” She heard the edge in her own voice and softened it at once, though she could not quite strip the shock from it. “You vanished.” Eva’s mouth twitched. Not a smile. “You did the same.” Silas set a tumbler down with a muted click. “I’ll leave the two of you to excavate the past. If anyone asks, I was never here.” He moved off with a limp that still seemed to offend him more than it inconvenienced him, his silver signet ring catching the green light as he passed beneath the photographs on the wall. Aurora watched him go, grateful for the distance and furious at needing it. Eva slid onto a stool at the bar. She did not take her coat off. She kept one arm folded tight across her middle, fingers tucked under the opposite elbow as if she were guarding something brittle. “Do you want a drink?” Aurora asked. “You’ve still got that terrible honesty problem.” “It’s a bar.” “Then pour me something poisonous and let’s be civil.” Aurora reached for a bottle of whisky and stopped with her hand on the neck. “You came in here by accident.” Eva gave a small shrug that worked too hard to look casual. “I was passing.” “Passing through Soho, past a bar with a green neon raven and a man limping behind it?” “You always did live in a theatrical neighbourhood.” Aurora poured two measures. The whisky smelled sharp and oaky, with a bitter sweetness under it. She set one glass down in front of Eva and kept the other. Eva looked at the glass but did not touch it. “You look the same.” “No, I don’t.” “You’ve still got that look on your face like you’re deciding whether to fight someone or diagnose them.” Aurora snorted despite herself. “And you’ve got a new haircut.” “That’s the measure of years, is it?” “No. It’s the measure of contempt.” Eva finally took the glass and raised it a fraction. “To contempt, then. It survived better than we did.” They drank. The Nest hummed around them, low voices at the tables, the soft clink of bottles, the hiss of the fridge behind the bar. A man in a battered suit laughed too loud into his pint. Someone near the back argued in a language Aurora did not know. Old maps watched from the walls, their coastlines brown with age, their faded lines like veins under skin. Black-and-white faces stared from the photographs, men in hats, women with straight mouths, all of them caught in a moment that had long since turned to dust. Aurora rested her forearms on the bar. “How long has it been?” “You’re asking me?” Eva’s fingers tightened around the glass. “You were the one who stopped replying.” Aurora looked at her. Really looked. The old indignation stirred, familiar and tired. “You left Cardiff without a word.” “I sent letters.” “Two.” “Three.” “Two I found. One I missed because I was dealing with my father asking why his daughter was flunking a pre-law degree and sleeping on a friend’s sofa in London.” Eva’s eyes sharpened. “You were on a sofa?” Aurora felt her jaw clench. “Don’t do that.” “Do what?” “Look surprised when I was miserable. You wrote from Berlin like you were on a gap year with secrets. I was working nights, trying not to answer my phone, and you sent me postcards from places I could not afford to hate.” Eva stared into her whisky. “You always could make guilt sound like a bus timetable.” “And you always could make leaving sound like ambition.” That landed. Eva’s shoulder moved once, a tiny flinch. She swallowed and set the glass down with care. “You were always better at saying the thing than I was.” “You were better at not saying it at all.” Silas returned with a clean cloth over one shoulder, a bottle in hand, and his hazel eyes taking in the tension between them with the ease of an old intelligence operative who had spent a lifetime reading rooms before they could read him. “Another round?” he asked. “Not for me,” Aurora said. Eva did not answer straight away. “Gin, if you’ve got it.” Silas gave a short nod, fetched the bottle, and set it down with the practised economy of a man who understood when to speak and when to vanish. When he moved away again, Eva watched him for a beat. “He still runs this place like an operation.” “He runs everything like an operation.” “Is that why you stayed?” Aurora’s hand paused over the bottle. “Stayed where?” “In his orbit.” The question was light enough to pass for idle and sharp enough to cut through the room. Aurora twisted the cap back on and set the bottle down. “I live above the bar. That’s proximity, not allegiance.” Eva gave a dry little hum. “You always were good at narrow definitions.” “What’s that supposed to mean?” “It means you used to live in rooms that had no exits you couldn’t see.” Aurora laughed once, without warmth. “And now?” Eva’s gaze flicked to her left wrist, where the sleeve of her shirt had slipped enough to show the edge of the small crescent scar. “Now you wear your exits in public.” Aurora pulled her sleeve down at once. The movement was automatic, old and private, and for a moment she hated the scar with a ferocity that surprised her. The thing had not hurt in years. It still spoke too loudly. “Careful,” she said. “You sound like you’ve been practicing on yourself.” Eva’s mouth tightened. “Maybe I have.” She took a longer drink. The whisky caught at the back of her throat. She did not cough. Aurora remembered her coughing from cheaper vodka in Cardiff kitchens, from stolen gin in a field outside town, from that same stubborn refusal to show weakness even when she had gone pale with it. “Berlin suits you,” Aurora said. Eva barked a laugh. “Does it?” “You look… expensive.” “That sounds like an insult.” “It was meant as one.” “Good. I earned it.” Aurora studied her. The new coat, the careful nails, the controlled stillness. Not elegance, not exactly. Something more defensive than that. A woman who had dressed herself in finish because the underneath had become too visible. “What do you do?” Aurora asked. Eva’s fingers moved once over the rim of the glass. “I consult.” “For whom?” “For whoever can pay.” “That’s not an answer.” “It’s the answer.” Aurora let the silence stretch. Then, “You left art history for that?” Eva’s eyes lifted. There it was, the first real crack. Not shame, not regret. Something harder. “You remember that?” “Of course I remember. You spent a year trying to convince me the Renaissance was a crime scene.” “It was. All those dead men and their patron saints and their money. Same old violence, just with prettier ceilings.” She tilted her head. “And you, of all people, remember my degree?” Aurora looked down at the ring of moisture on the bar. “I remember more than you think.” “Then you’ll remember why I left.” The words sat between them like a cup set down too hard. Aurora did remember the arguments. The note pinned to her door. The night train to London with a backpack and a borrowed coat. She remembered anger, too, and the kind of hurt that turned everything blunt. “I remember enough,” she said. “That’s another way of saying not enough.” Aurora laughed under her breath. “You came in here and sat down. Don’t make me drag every fact out of you with tweezers.” Eva’s face softened for the first time, only a little. “You still say things like that.” “Like what?” “Like you’re already in the middle of a plan and everyone else has just arrived.” The words caught Aurora off guard. She looked at Eva, at the angle of her cheekbone, the faint line beside her mouth she had not worn before, the change made not by age alone but by whatever years had done in the dark. “And you,” Aurora said, “look like you came out the other side of something expensive and unpleasant.” “That’s much closer.” Silas set two coasters on the bar between them. “You two can stare each other down all night, or you can tell me whether I need to start charging emotional damage fees.” Eva glanced up. “Do you have a loyalty scheme?” “For survivors, yes.” “I’ll take that,” she said. Aurora watched them exchange that small, dry humour, and felt something shift inside her, not jealousy exactly, more like the strange ache of seeing a person step into a room she had once assumed was hers alone. Eva had always been quick, always bright in a way that made the rest of the world seem dimmer by comparison. Now she looked polished by pressure. Not broken. Not whole either. Sharpened. The door opened again. Cold air brushed the room. A couple at the far end turned, then looked away. Eva did not look back. “You still deliver for that restaurant?” Aurora’s head came up. “How do you know that?” “I pay attention.” “Since when?” “Since people started disappearing.” That stopped her. Silas, behind the bar, went still in the smallest possible way. The cloth in his hand stopped moving. He did not interrupt. Aurora kept her voice level. “What people?” Eva’s gaze held on the whisky glass as if the answer lived in the amber ring at the bottom. “A courier in Camden, three men who worked the clubs near the river, a woman out by Vauxhall who kept records for money they pretended not to need. Different corners. Same absence.” “Absence?” Aurora repeated. “Nothing dramatic. No bodies. No headlines. Just the kind of empty space people learn to live around.” Aurora’s mouth went dry. “Why are you telling me this?” Eva looked up at last. The old friend she remembered was there for one bare instant, stripped of polish and business and whatever had made her voice so careful. “Because your name came up.” The room seemed to draw in around that sentence. A man laughed at the back, bottle glass against wood, and somewhere under it all Aurora heard her own pulse. “My name?” Eva’s fingers folded tighter around the stem of the glass. “Not Aurora. Not Rory.” Silas’s hand moved once to the ring on his right hand. “Laila,” Eva said. Aurora did not move. The name landed like a hand over the mouth. Not a nickname from school, not one of the careless private inventions of youth. It belonged to something else, something that had been tucked away and never spoken across a table where other people could hear. Her throat closed around old instincts she had spent years teaching herself not to obey. Eva saw the change and, for the first time since she had walked in, looked afraid. “That isn’t possible,” Aurora said. “I know what I heard.” “You’re wrong.” “No.” Aurora reached for the bottle, not because she wanted more whisky, but because her fingers needed something to do. She missed the neck once, caught it on the second pass, and set it down with a hard little knock. “Who said it?” Eva leaned in a fraction. “A man with a notebook and an accent I couldn’t place. He asked where to find the girl who used to run errands for Blackwood. Then he asked where Laila lived now.” Silas moved. Not quickly. That would have betrayed him. He came to the end of the bar with his usual measured step, but the room had changed shape around him now, all the same. “And what,” he said, “did you tell him?” Eva looked from Silas to Aurora, and something in her face cooled into decision. “I told him I had no idea.” The front door banged open behind them. A man stumbled inside, one hand pressed hard to his side. Blood slicked through his fingers and darkened the front of his shirt. His eyes found Aurora with the blind certainty of someone following orders too late. “Rory,” he gasped, and then his knees folded, and he crashed into the floor at the foot of the bar as three more figures pushed in after him, one of them already lifting a gun.
created_at"2026-03-18T10:53:00.447Z" 3/18/2026, 10:53:00 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency393
moderation_latency(null)
generation_time15660
tokens_prompt4618
tokens_completion3736
native_tokens_prompt4131
native_tokens_completion2976
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"
usage0.01649025
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_0932c2cefb0e4b610169ba840c82148190bc453ef41f5f7e14"
is_byokfalse
latency271
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-1773831180-XXdffdqcHdJVZY4euVrF"
upstream_id"resp_0932c2cefb0e4b610169ba840c82148190bc453ef41f5f7e14"
total_cost0.01649025
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
totalTags18
adverbTagCount1
adverbTags
0"Eva’s fingers tightened around [around]"
dialogueSentences115
tagDensity0.157
leniency0.313
rawRatio0.056
effectiveRatio0.017
95.78% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2368
totalAiIsmAdverbs2
found
0
adverb"really"
count1
1
adverb"quickly"
count1
highlights
0"really"
1"quickly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
83.11% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2368
totalAiIsms8
found
0
word"flicker"
count1
1
word"familiar"
count1
2
word"tension"
count1
3
word"warmth"
count1
4
word"flicked"
count1
5
word"silence"
count1
6
word"pulse"
count1
7
word"measured"
count1
highlights
0"flicker"
1"familiar"
2"tension"
3"warmth"
4"flicked"
5"silence"
6"pulse"
7"measured"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"let out a breath"
count1
highlights
0"let out a breath"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences149
matches
0"looked afraid"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences149
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences245
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen43
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2368
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions25
unquotedAttributions0
matches(empty)
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions89
wordCount1578
uniqueNames9
maxNameDensity2.53
worstName"Aurora"
maxWindowNameDensity4.5
worstWindowName"Aurora"
discoveredNames
Aurora40
Carter1
Blackwood1
Raven1
Nest2
Eva33
Cardiff1
London1
Silas9
persons
0"Aurora"
1"Carter"
2"Blackwood"
3"Raven"
4"Nest"
5"Eva"
6"Silas"
places
0"Cardiff"
1"London"
globalScore0.233
windowScore0.167
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences89
glossingSentenceCount1
matches
0"not quite strip the shock from it"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.422
wordCount2368
matches
0"not by age alone but by whatever years had done in the dark"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences245
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs142
mean16.68
std17.15
cv1.028
sampleLengths
01
148
21
388
47
559
617
719
810
96
1043
113
123
1337
1410
1526
1647
1737
187
197
203
219
2221
2315
2417
258
2629
2714
283
2918
3010
317
326
3319
342
3592
3612
3716
3819
393
401
411
4230
438
448
452
4642
4715
489
4929
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences149
matches
0"been tucked"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs263
matches
0"were guarding"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences245
ratio0
matches(empty)
99.60% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1582
adjectiveStacks0
stackExamples(empty)
adverbCount64
adverbRatio0.040455120101137804
lyAdverbCount9
lyAdverbRatio0.005689001264222503
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences245
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences245
mean9.67
std8.52
cv0.882
sampleLengths
01
120
228
31
429
515
614
716
814
97
1028
1131
128
139
1412
157
1610
176
1817
1926
203
213
2235
232
243
253
264
279
2817
2934
3013
318
327
3322
347
357
363
379
3815
396
4012
413
4217
438
444
4512
4613
4710
484
493
45.10% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats12
diversityRatio0.2571428571428571
totalSentences245
uniqueOpeners63
26.25% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences127
matches
0"Only her eyes gave her"
ratio0.008
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount25
totalSentences127
matches
0"She caught it before it"
1"Her coat hung loose on"
2"Her mouth, always made for"
3"He took in Eva, took"
4"he said, not unkindly"
5"She leaned down, set the"
6"She heard the edge in"
7"He moved off with a"
8"She did not take her"
9"She kept one arm folded"
10"She set one glass down"
11"She swallowed and set the"
12"It still spoke too loudly."
13"She took a longer drink."
14"She did not cough."
15"She tilted her head"
16"She remembered anger, too, and"
17"She looked at Eva, at"
18"He did not interrupt."
19"It belonged to something else,"
ratio0.197
7.24% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount115
totalSentences127
matches
0"The glass slipped in Aurora"
1"She caught it before it"
2"Eva stood half-turned in the"
3"Her coat hung loose on"
4"The hair was cut blunt"
5"Her mouth, always made for"
6"Aurora wiped her palms on"
7"Silas Blackwood glanced over from"
8"He took in Eva, took"
9"he said, not unkindly"
10"Eva’s gaze slid past him,"
11"Aurora let out a breath"
12"She leaned down, set the"
13"She heard the edge in"
14"Eva’s mouth twitched."
15"Silas set a tumbler down"
16"He moved off with a"
17"Aurora watched him go, grateful"
18"Eva slid onto a stool"
19"She did not take her"
ratio0.906
39.37% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences127
matches
0"Now she looked polished by"
ratio0.008
85.25% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences62
technicalSentenceCount5
matches
0"He took in Eva, took in Aurora, and his expression shifted into the faint, watchful neutrality he used when he wanted to look like a man who saw nothing at all."
1"She kept one arm folded tight across her middle, fingers tucked under the opposite elbow as if she were guarding something brittle."
2"Black-and-white faces stared from the photographs, men in hats, women with straight mouths, all of them caught in a moment that had long since turned to dust."
3"The movement was automatic, old and private, and for a moment she hated the scar with a ferocity that surprised her."
4"Eva’s gaze held on the whisky glass as if the answer lived in the amber ring at the bottom."
97.22% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags18
uselessAdditionCount1
matches
0"he said, not unkindly"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags15
fancyCount2
fancyTags
0"Aurora repeated (repeat)"
1"he gasped (gasp)"
dialogueSentences115
tagDensity0.13
leniency0.261
rawRatio0.133
effectiveRatio0.035
86.5197%