Run: 2026-03-18-01KM09BE15WWQXESXVR8QJ4EFT

Run Details

Duration:
18.9s
Cost:
$0.015949
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
Aurora Carter snagged her boot on a root and caught herself on a rough oak standing stone before she hit the ground. The Heartstone pendant thumped against her sternum, a hard little beat under her shirt. She yanked the chain free from her collar and stared across the clearing, where wildflowers crowded the grass in pale knots and the ancient stones rose out of the dark like teeth. Nothing moved. She kept her torch low and swept the beam over the ground. Ferns. Moss. A scatter of white petals that looked fresh enough to bleed. “All right,” she said to the empty grove. “I’m here. You wanted me here. Congratulations.” Her voice landed flat and came back wrong, thinner than it should have sounded, as if the grove chewed on it before it returned. She tightened her grip on the torch and stepped past the first stone. The pendant warmed. Not enough to burn. Enough to make her look down. The crimson gem held a faint inner glow now, a deep ruby shine under the silver chain. She touched it with two fingers and felt a pulse answer back, slow and steady, like a second heart that did not belong to her. “Brilliant,” she muttered. The path behind her had already gone vague. The trees at the edge of the grove crowded closer than they had a moment ago, or maybe she had walked deeper than she meant to. Richmond Park had swallowed up enough of her evening already. A few minutes more and she would be back at Silas’ bar, dripping mud across the stairs, pretending she had not just followed a cursed necklace into a fairy story. She took another step. A twig snapped behind her. Aurora froze. The torch beam flew wide, caught on a standing stone, then on a tangle of roots, then on nothing at all. Silence pressed down again, thick and complete. “Not funny,” she said. A bird called from somewhere high in the trees. The cry sounded half-mimicked, half-choked, like someone had learned the shape of a bird’s voice without ever hearing one properly. She turned in a slow circle. The grove held steady, all crooked shadows and pale flowers, but the darkness between the stones seemed fuller than the rest, layered. She had the sense that if she stared hard enough, she might see something moving inside it, a shape made of absence. Her pendant warmed harder. She shifted her torch to the other hand and followed the pull. The beam landed on a narrow gap between two stones, where the ground dipped into a shallow bowl of roots and black earth. Faint, silver threads ran through the soil there, like veins in a wrist. Aurora crouched and brushed one of the threads with her fingertips. The earth felt cold. Not cool, not damp. Cold, as if it had been kept in a cellar for years. She pulled her hand back at once and flexed her fingers. A breath touched the back of her neck. She spun so hard that the torch nearly slipped from her hand. Nothing stood there. No face. No figure. Only the trees, packed tight around the grove, their black limbs crossing and uncrossing in the dark. Then another breath came, close to her ear. Aurora backed into the stone behind her and thrust the torch out. “Show yourself.” For a moment, the torch beam caught what looked like a face between two branches, narrow and pale, all cheekbone and wet black eyes. She blinked. The shape vanished. A laugh ticked through the grove. Light, childlike, and very far away. Her skin tightened across her arms. “Nope.” She turned towards the gap in the stones and walked into it before her nerves could argue. The air changed at once. The grove’s sounds fell away, one by one, until she heard only the scrape of her trainers on root and soil, and the faint, insistent thud of the pendant against her chest. The bowl of earth opened into a small clearing she had not seen from outside. The flowers here bloomed in thick drifts, white and blue and bruised purple, all tangled together as if they had grown in a rush and had never bothered with order. At the centre stood a low mound of stones wrapped in ivy. Something pale lay on top of it. Aurora raised her torch. A rabbit skull stared back at her, clean and white, balanced neatly on the stones. No flesh. No fur. Just the delicate curve of the jaw and the hollow of the eye sockets. She exhaled through her nose. “Cute.” The pendant gave a sudden sharp pulse against her skin, so strong that she flinched and clutched at it. Heat flooded through the silver chain, enough to make her teeth grit. The crimson gem flared, a dark spark under blood-red glass. The rabbit skull cracked. Aurora stumbled back. The skull split down the middle with a dry, brittle snap, and something dark and wet shifted underneath it. She raised the torch higher, but the beam never held still. It jittered across the stones, across the ivy, across the mound, then snagged on a line of movement at the edge of the clearing. A figure stood among the flowers. Aurora swung the light towards it. No one there. The torch beam lingered on an empty patch of grass, but the flowers in that patch bent in a careful line, as if a body had just passed through them. A long, slow rustle moved across the clearing and stopped near the tree line. Her mouth went dry. “Fine,” she said softly. “If you’re going to lurk, at least have the decency to breathe like a person.” A reply came from the trees. “Person.” The word emerged from somewhere low and close, spoken in a voice that sounded copied, not learned. Aurora’s head snapped round. The torch beam skated over bark and shadow. It caught on a shape between the trunks, narrow shoulders, black hair hanging to the chin, a face pale as bone. Her own face. She did not move. The thing in the trees smiled first, slow and small, and the expression looked wrong on her features. Her eyes, bright blue in every mirror she had ever hated, stared back at her from the shadowed face with no warmth in them at all. Aurora swallowed. “Not even subtle.” The figure tilted its head. Her scar, tiny and crescent-shaped on the left wrist, gleamed white as the thing raised the same hand and held it out, palm up. The torch flickered. Aurora stepped sideways, and the figure stepped too, staying half-hidden among the trunks. She drove the beam straight at it. The shadow tore apart. Branches. Bark. Empty dark. Her breath hitched once, sharp and hard. Then the grove answered with another sound, one she had not heard before. Not a laugh this time. A wet, dragging step. Then another. The noise came from behind the stone mound, from a place where the flowers bent in a wide crescent around the roots. Aurora did not look away from the mound. “Listen,” she said. “I’m in no mood for theatrics.” Something answered from beneath the stones. A soft knock. One. Two. As if knuckles tapped from inside the earth. The pendant burned hot enough to sting. Aurora fumbled for the chain and dragged it out from under her shirt. The gem blazed red for the length of a heartbeat, then dimmed to a coals-deep glow, and the air around her changed. A smell drifted through the clearing, sharp and metallic, like rain on copper, like the inside of an old coin pressed against her tongue. The knock came again. Three times. The stone mound shifted. Not by much. Just enough to make her eyes catch on the wrongness of it. One of the flat stones on top tilted, then settled back into place, as if something underneath had pressed up and then withdrawn. Aurora edged backwards until her shoulders brushed the trunk of a yew tree. The bark scratched through her jacket. The groove of silence broke at last. It did not return to normal. It opened wider instead, filled with a faint whispering from all sides at once, too soft to catch, too patterned to ignore. Not wind. Not leaves. Words. Old ones. Repeated around the clearing like a prayer spoken by a mouth with too many teeth. She shut the torch off. Darkness swallowed the beam in one neat gulp. Every sound sharpened at once. The whispering. The soft shift of flowers under pressure. The pulse of her own blood in her ears. A hand touched the back of her neck. Aurora whipped round and struck out with the torch, hard enough that her wrist protested. Her fist hit nothing. The air where the hand had touched her felt colder than the rest of the grove, colder than water, colder than metal. She stumbled forward and the torch clattered from her grip. It struck stone, bounced, and rolled into the flowers beside the mound. Its glass lens flashed once in the dark, then guttered out. “No, no, no.” She dropped to a crouch and reached for it. Her fingers brushed the dirt and then froze. A row of footprints ran from the mound to the tree line. Bare feet. Small ones. Child-sized. The print on the right foot sank deeper than the other, as if the weight had dragged. Aurora stared. The tracks had appeared in the soft earth in the seconds since she had turned. A whisper brushed the back of her knee. She jerked upright so fast that she nearly fell. “Don’t do that.” The grove answered by going still. Every flower stood rigid. Every branch held. Even the whispers died off in a single, sudden cut, as if something had closed a mouth. Aurora’s chest tightened. Then the pendant flared so brightly that the crimson glow leaked through her shirt in a red wash, staining her hands, her sleeves, the stones at her feet. A crack opened in the air between the mound and the tree line, no wider than a door at first, then widening with a sound like skin splitting. Cold rolled out of it. Not night air. Something older. Foul with sap and iron and a sweet rot underneath, like fruit left to blister in a sealed room. Aurora backed away until the yew pressed against her spine. The split in the air widened further, and shapes moved inside it. Pale shapes. Elbows. Fingers. A face pressed close to the other side, all mouth and eyes and stretched white skin, then flattened as if against glass. The thing spoke without moving its mouth. “Laila.” Aurora’s hand flew to the pendant. The chain burned her palm. “No one calls me that.” The mouth on the other side of the split widened in a grin that did not belong on any human face. “Carter.” Something shoved at the crack. The air around it shuddered. The flowers around the stone mound bent low, as if bowing. Aurora snatched the torch from the grass and hurled it at the opening. The torch hit the edge of the split and burst. Glass sprayed the stones. A sharp crack of light flashed through the clearing, and for one brutal second she saw what stood beyond the gap, a narrow corridor of black branches and pale roots, crowded with faces that watched from between the trees. Then one hand reached through. Long. White. Jointed wrong at the wrist. It hooked around her own wrist with a grip like ice and snapped her arm straight. Aurora cried out as the chain jerked tight against her throat. The Heartstone pendant flared like a wound ripped open in the dark. Something stepped through with it.
created_at"2026-03-18T10:55:05.277Z" 3/18/2026, 10:55:05 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency10870
moderation_latency(null)
generation_time18640
tokens_prompt4560
tokens_completion3547
native_tokens_prompt4064
native_tokens_completion3443
native_tokens_completion_images0
native_tokens_reasoning1010
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"
usage0.0159495
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_0c0e63eb2810ef250169ba848959888196b23440e5b32fe7f4"
is_byokfalse
latency235
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-1773831305-iDjdHdHL7u0Uvenxabxe"
upstream_id"resp_0c0e63eb2810ef250169ba848959888196b23440e5b32fe7f4"
total_cost0.0159495
cache_discount0.002592
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
88.89% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags6
adverbTagCount1
adverbTags
0"she said softly [softly]"
dialogueSentences18
tagDensity0.333
leniency0.667
rawRatio0.167
effectiveRatio0.111
94.92% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1970
totalAiIsmAdverbs2
found
0
adverb"very"
count1
1
adverb"softly"
count1
highlights
0"very"
1"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)
77.16% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1970
totalAiIsms9
found
0
word"pulse"
count3
1
word"silence"
count2
2
word"warmth"
count1
3
word"flickered"
count1
4
word"weight"
count1
5
word"whisper"
count1
highlights
0"pulse"
1"silence"
2"warmth"
3"flickered"
4"weight"
5"whisper"
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
narrationSentences195
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences195
filterMatches
0"look"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences208
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
totalWords1970
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
97.20% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions24
wordCount1894
uniqueNames4
maxNameDensity1.06
worstName"Aurora"
maxWindowNameDensity2
worstWindowName"Aurora"
discoveredNames
Carter1
Heartstone2
Park1
Aurora20
persons
0"Carter"
1"Aurora"
places
0"Park"
globalScore0.972
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences116
glossingSentenceCount2
matches
0"looked like a face between two branches,"
1"as if bowing"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1970
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences208
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs121
mean16.28
std17.05
cv1.047
sampleLengths
022
146
22
325
415
524
613
73
810
942
103
1174
124
135
142
1521
167
174
1829
1950
204
2148
2211
2320
2411
258
2612
2724
288
2912
302
3124
322
333
3412
356
361
3754
3864
394
4033
415
421
4341
444
4557
466
476
483
4944
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences195
matches
0"been kept"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs281
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences208
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount272
adjectiveStacks0
stackExamples(empty)
adverbCount9
adverbRatio0.03308823529411765
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences208
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences208
mean9.47
std7.96
cv0.841
sampleLengths
022
114
232
32
412
51
61
711
88
97
1024
1113
123
134
146
1517
1625
173
188
1926
2010
2130
224
235
242
2521
267
274
289
2920
306
3122
3222
334
3412
3523
3613
3711
384
394
4012
4111
428
4312
443
452
462
4717
488
4912
43.27% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.2980769230769231
totalSentences208
uniqueOpeners62
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount8
totalSentences160
matches
0"Only the trees, packed tight"
1"Then another breath came, close"
2"Just the delicate curve of"
3"Then the grove answered with"
4"Just enough to make her"
5"Even the whispers died off"
6"Then the pendant flared so"
7"Then one hand reached through."
ratio0.05
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount38
totalSentences160
matches
0"She yanked the chain free"
1"She kept her torch low"
2"she said to the empty"
3"Her voice landed flat and"
4"She tightened her grip on"
5"She touched it with two"
6"She took another step."
7"She turned in a slow"
8"She had the sense that"
9"Her pendant warmed harder."
10"She shifted her torch to"
11"She pulled her hand back"
12"She spun so hard that"
13"Her skin tightened across her"
14"She turned towards the gap"
15"She exhaled through her nose."
16"She raised the torch higher,"
17"It jittered across the stones,"
18"Her mouth went dry."
19"she said softly"
ratio0.238
47.50% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount132
totalSentences160
matches
0"Aurora Carter snagged her boot"
1"The Heartstone pendant thumped against"
2"She yanked the chain free"
3"She kept her torch low"
4"A scatter of white petals"
5"she said to the empty"
6"Her voice landed flat and"
7"She tightened her grip on"
8"The pendant warmed."
9"The crimson gem held a"
10"She touched it with two"
11"The path behind her had"
12"The trees at the edge"
13"Richmond Park had swallowed up"
14"She took another step."
15"A twig snapped behind her."
16"The torch beam flew wide,"
17"A bird called from somewhere"
18"The cry sounded half-mimicked, half-choked,"
19"She turned in a slow"
ratio0.825
31.25% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences160
matches
0"As if knuckles tapped from"
ratio0.006
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences79
technicalSentenceCount4
matches
0"The flowers here bloomed in thick drifts, white and blue and bruised purple, all tangled together as if they had grown in a rush and had never bothered with ord…"
1"The word emerged from somewhere low and close, spoken in a voice that sounded copied, not learned."
2"One of the flat stones on top tilted, then settled back into place, as if something underneath had pressed up and then withdrawn."
3"A face pressed close to the other side, all mouth and eyes and stretched white skin, then flattened as if against glass."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags6
uselessAdditionCount0
matches(empty)
94.44% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount1
fancyTags
0"she muttered (mutter)"
dialogueSentences18
tagDensity0.278
leniency0.556
rawRatio0.2
effectiveRatio0.111
92.4878%