Run: 2026-03-18-01KM09H88R57QYGT7DA4YB83H4

Run Details

Duration:
24.0s
Cost:
$0.004749
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
The pendant burned in my palm as I slid between the standing stones, silver chain biting my skin like a tight rule. Heartstone pulsed, deep crimson light breathing under my thumb, warm enough to feel wrong against the chill that lived in my bones. I had come for this boundary, for the pocket clearing Idon’t know how to name it, where Richmond Park’s old oaks marked the edge between Earth and something else. The Grove sat out of sight until you knew how to look, and tonight the pendant knew. It led me like a hand on the back of my neck, steady and impatient. I stepped past the last oak. The air changed. It did not shift like weather, it switched like a channel. Sounds thinned, then rearranged themselves. Somewhere close, wildflowers with year-round bloom looked too perfect, petals holding their colour without dew or dust, as if the world had forgotten to weather them. I kept my head up anyway. Looking down made the dark feel thicker. The stones formed a rough circle, ancient oak trunks and pale bark with lichen that should have been quiet. Instead, it clicked. Tick, tick, tick, like fingernails tapping bone. My stomach tightened, not with panic. With recognition. It sounded like a clock that refused to tick at human time. I tightened the grip on my pendant. The warmth spread up my wrist and flared at the crescent-shaped scar on my left wrist, the one I got when I was small and reckless, the one that had never fully agreed with my skin. The scar lit under my touch, heat blooming there as if something beneath my flesh had woken. A Hel portal, I told myself. The pendant said so with its behaviour. The Grove answered with a sound that did not belong. A wet inhale drifted through the circle, too close to my ear to travel. It carried the coppery stink of old pennies, warm breath without a mouth. I stopped moving. I forced my breathing to stay slow, even when my pulse tried to sprint. Silence followed the inhale. Not peace, just the absence of the one wrong sound. Then another started. At my left, at the edge of vision, something dragged across bark. Not a branch scraping on stone, not an animal clawing for insects. This dragged like a sleeve, like fabric pulled over wood, consistent and patient. I did not turn yet. Turning gave predators what they wanted. Turning gave things confirmation that I noticed them. The pendant’s pulse quickened. It brightened, inner glow deepening from ember to warning. I slid a fingertip across the silver chain where it met my skin. Cold metal, warm gem, like two temperatures refusing to agree. I lifted the pendant to the nearest standing stone and held it there. The crimson light sank into the bark. The oak did not glow. The bark simply accepted the light, and the air in front of the stone deepened, as if a seam had opened under a sheet. Dark folded back on itself. The dragging sound stopped. Something leaned closer to me, slow, hungry. I felt it more than I heard it, like pressure at the base of my skull. I kept my hand steady. “Show me,” I said, voice flat, eyes trained on the seam in the stone. The seam widened with a soft tearing sound, not loud enough to be dramatic, just intimate, like cloth ripping in a quiet room. A thread of blackness slipped through, thin at first, then thicker, coiling. It smelled of ash and lilies. The ash came first. The lilies arrived second, sweet and clean, and that sweetness made my throat close. A whisper slid out of the seam. Not words. Not a voice in any human language. It carried rhythm, the kind you could learn if you kept listening. It pressed at my teeth, at the fillings I did not have. My pendant warmed again, harder now. The chain warmed. The scar burned. I realised the warmth had shifted from comfort to insistence, like the pendant wanted me to place something else against the opening. I stepped closer, right foot forward. The ground under my shoe did not give like soil. It felt like packed moss over something rigid. A floor. A false floor. My sole met a faint resistance that should not have existed in an open clearing. I dragged my foot back and tasted iron on my tongue. The taste hit too fast, as if my mouth remembered blood. “You’re late,” a voice said behind me. It came out of nowhere, not from the seam, not from the trees. It spoke with a London bite in the syllables, crisp and familiar in the way a threat could be. I spun. No one stood there. The Grove stayed empty, circle clean, standing stones holding their boundary like teeth. I swallowed the iron taste. “Who are you?” A laugh answered, soft and wrong. It sounded like someone rubbing paper over paper, a dry friction that rasped against the ear. The dragging noise restarted, closer this time, along my right side. The sound of fabric and wood. I still saw nothing in my peripheral sweep. The hair on my arms rose. My blue eyes felt too exposed, like bright paint on a dark wall. The seam in the oak pulsed. It widened and narrowed, as if something on the other side breathed. I pulled my phone out without thinking, the screen glow throwing a pale rectangle across wildflowers. The pendant’s crimson light fought it, dimming the phone’s light like the Grove disliked modern power. The phone screen showed no signal. No time. The display held steady like it had frozen on a frame of reality. Then the screen flickered. My own face reflected in it, but the eyes looked wrong. The blue had dulled to a bruised grey, and a thin dark line traced the crescent scar on my wrist in the reflection, as if the pendant had marked me from the inside. I jerked the phone down. My real eyes stayed bright. The scar stayed visible, but it was only a scar, only skin. The phone screen kept showing the bruised-grey eyes for another half-second, then snapped back to normal. The seam sighed. I forced myself to move again. Standing still invited attention, and attention in the Grove did not arrive as a greeting. It arrived as a claim. I moved along the inside of the stone circle, pendant outstretched, searching for the seam’s anchor. My hand skimmed bark where lichen sat in perfect patterns, each patch arranged like lettering. Small shapes pressed into the oak, shallow grooves that my fingers could feel. Symbols. Not carved, not grown. Embedded, as if the wood had learned them. I stopped at a gap where two standing stones met. The bark there looked smoother, the lichen less thick, like something had scraped the surface clean and then covered it again. The pendant’s pulse intensified, heat pouring into my wrist. The crescent scar opened under the light, not physically, but in sensation, like it remembered pain. A wet inhale rose behind me again, nearer than before. The scent of pennies returned. I did not turn. I pressed the pendant against the smooth patch of bark. The crimson light sank in, then flashed. The air tore. A panel of blackness peeled open across the seam, wider than the oak’s face could reasonably allow. It unfolded like a door kicked out from its hinges, and the darkness inside did not just look deep, it looked thick, layered, full of distance that behaved like fluid. Something moved in it. Not a silhouette, not a creature with limbs. Movement with direction. It shifted like a tide, then slowed, as if it had noticed me. The scent changed. Smoke, then lilies again, then something stale and human, like closed lungs. My pendant burned in my hand, chain taut. It pulsed so hard it made my fingers ache. The Grove around me reacted. Wildflowers quivered. Petals trembled in place without breeze. The standing stones gave a low creak, like they had begun to settle into a new geometry. Something stepped forward from the portal. It did not come through with a body. It came through with a sensation of presence that made my eyes water. My blue irises felt like they were being pulled from their sockets. A hand reached out. It did not match any anatomy I knew. The shape stayed human in outline but wrong in spacing. Fingers that bent at extra joints, knuckles too prominent, skin the grey of old candle wax. It paused at the edge of the seam, as if tasting the air. Then it tilted its head. A voice, close and intimate, whispered from the portal, and the words landed in my ear as if the sound had travelled through bone. “Give it back.” My throat tightened. “I don’t have anything you’re owed.” The portal’s darkness rippled. The hand flexed, fingers opening wider, stretching toward my pendant. The dragging fabric sound resumed, this time from my front. I realised the wrongness had changed. It was no longer something behind me. It moved around me in a pattern, like a hunter marking routes without needing to show itself. I lowered my pendant slightly, keeping it between my body and the portal hand. “You don’t get to speak to me.” A laugh cut through the space between stones. It came from the trees, from the lichen, from everywhere. It sounded like a chorus with only one throat. “You’re already inside,” the voice said. Cold swept my spine. Not fear now, urgency. I looked down. The ground under my shoes had shifted. Where there had been moss, there were thin, pale lines like cracks in ice, except they ran in straight paths that formed a grid. The grid stretched under the stone circle. It pulsed faintly with crimson light that echoed the pendant’s heartbeat. Time moves differently, the Grove’s nature told you without words. The portal did not just open between realms. It opened between moments. I heard a sound from the stone circle’s far edge, a soft knock, like knuckles rapping from inside wood. Once. Twice. Three times. The sound synchronised with the pendant’s pulse. I jerked my gaze toward the standing stones and saw a figure at the edge of the circle, where I had no business seeing anything. It stood half in shadow, half in that wrong seam-dark. It looked almost like a person, almost like an impression of a person, stitched together by absence. It raised a hand and pointed at my crescent scar. “Rory,” it said. My name hit like a slap. No one in London used it. Not Eva, not Silas, not the delivery drivers who shouted my order numbers. Only one person ever called me Rory with that particular sharpness, and that person had not been in my life for years. “Don’t,” I snapped. The figure tilted its head, copying my posture with a delay. The hand on the portal side reached further, greedy. I stepped back, trying to break line-of-sight between myself and both presences. My heel caught the grid line. The world lurched, as if the floor had shifted its weight away from me. My body stumbled. The pendant yanked toward the seam. The chain went taut, then snapped from my grip as if someone else had pulled the other end. It whipped from my hand, silver glinting, crimson light streaking across the air. For one breath, I saw the pendant floating mid-space between me and the portal, held by nothing visible. Then the portal hand seized it. The moment the pendant touched the grey wax fingers, the portal flared bright enough to stain my eyes. Crimson light flooded the seam, and the Grove’s air cracked like glass trying to resist a pressure change. The figure at the circle’s edge lunged forward without moving its feet. I felt the wrongness spike, an electric certainty that the boundary had accepted an exchange. The standing stones screamed. It was not a sound with pitch. It was a pressure in my skull, a grinding sensation that made my teeth ache. Bark split. Lichen flakes drifted into the air and spun in crimson-lit loops. My breath came out in a shattered, involuntary gasp. The portal widened. The portal hand yanked the pendant inward, pulling the seam wider with it, dragging the darkness toward the heart of the Grove. The grid lines under my feet lit brighter, and I felt the pull under my soles, like the ground had become a mouth. I lunged for the pendant’s chain, hands outstretched, fingers scraping moss that turned to something slick and cold beneath my palms. The air caught fire with lilies. A voice screamed my name through the seam, not in words this time, in vibration, in a command that made my ribs vibrate in sympathy. I strained against the pull. The grid surged. My left wrist, scar first, burned, and the crescent mark flared bright as the pendant had been. The sensation snapped into motion, dragging my hand toward the widening portal as if my body now belonged to the exchange. “No,” I said, and the sound came out thin. The portal inhaled. The Grove’s boundary snapped closed behind my heels, not shutting like a door, but sealing like skin. I fell forward into darkness, pendant-less, out of balance, already crossing the seam as the standing stones split wider and the figure at the circle’s edge smiled with a mouth made of shadow.
created_at"2026-03-18T10:58:15.984Z" 3/18/2026, 10:58:15 AM
model"openai/gpt-5.4-nano-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency9332
moderation_latency(null)
generation_time23459
tokens_prompt4560
tokens_completion3699
native_tokens_prompt4064
native_tokens_completion3702
native_tokens_completion_images0
native_tokens_reasoning917
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"
usage0.0047491
router(null)
provider_responses
0
endpoint_id"0c835f2e-c18d-4e8c-b245-e1e3bd08b97f"
id"resp_006e8206bf9a9c8d0169ba85480f3881939749722fddf60b34"
is_byokfalse
latency181
model_permaslug"openai/gpt-5.4-nano-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-1773831495-kf80IhWjHttANLY1UbW3"
upstream_id"resp_006e8206bf9a9c8d0169ba85480f3881939749722fddf60b34"
total_cost0.0047491
cache_discount0.0006912
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
totalTags6
adverbTagCount0
adverbTags(empty)
dialogueSentences10
tagDensity0.6
leniency1
rawRatio0
effectiveRatio0
97.79% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2261
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)
35.87% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2261
totalAiIsms29
found
0
word"pulsed"
count4
1
word"chill"
count1
2
word"perfect"
count2
3
word"stomach"
count1
4
word"warmth"
count2
5
word"pulse"
count4
6
word"silence"
count1
7
word"quickened"
count1
8
word"whisper"
count1
9
word"familiar"
count1
10
word"flickered"
count1
11
word"traced"
count1
12
word"could feel"
count1
13
word"quivered"
count1
14
word"trembled"
count1
15
word"echoed"
count1
16
word"lurched"
count1
17
word"weight"
count1
18
word"glinting"
count1
19
word"electric"
count1
20
word"shattered"
count1
highlights
0"pulsed"
1"chill"
2"perfect"
3"stomach"
4"warmth"
5"pulse"
6"silence"
7"quickened"
8"whisper"
9"familiar"
10"flickered"
11"traced"
12"could feel"
13"quivered"
14"trembled"
15"echoed"
16"lurched"
17"weight"
18"glinting"
19"electric"
20"shattered"
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
emotionTells2
narrationSentences218
matches
0"t with panic"
1"e in sympathy"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences218
filterMatches(empty)
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences222
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen37
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2261
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions1
matches
0"A Hel portal, I told myself."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions22
wordCount2232
uniqueNames11
maxNameDensity0.45
worstName"Grove"
maxWindowNameDensity1
worstWindowName"Grove"
discoveredNames
Idon1
Richmond1
Park1
Earth1
Grove10
Hel1
London2
Cold2
Eva1
Silas1
Rory1
persons
0"Grove"
1"Cold"
2"Eva"
3"Silas"
4"Rory"
places
0"Richmond"
1"Park"
2"London"
globalScore1
windowScore1
55.06% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences158
glossingSentenceCount6
matches
0"sounded like a clock that refused to tick"
1"felt like packed moss over something ri"
2"sounded like someone rubbing paper over pa"
3"felt like they were being pulled from t"
4"as if tasting the air"
5"sounded like a chorus with only one throat"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.885
wordCount2261
matches
0"not physically, but in sensation, like it remembered pain"
1"not shutting like a door, but sealing like skin"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences222
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs118
mean19.16
std14.33
cv0.748
sampleLengths
044
161
26
345
413
529
620
760
813
910
1027
1117
1214
133
1437
155
1614
1713
1836
197
2034
214
2223
2319
2435
2524
267
2733
2834
296
3038
3122
327
3332
342
3517
368
3722
3825
3919
4018
4132
4221
434
4444
4522
4616
473
4826
4931
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences218
matches
0"being pulled"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs371
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences222
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2242
adjectiveStacks0
stackExamples(empty)
adverbCount80
adverbRatio0.03568242640499554
lyAdverbCount11
lyAdverbRatio0.004906333630686887
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences222
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences222
mean10.18
std6.73
cv0.661
sampleLengths
022
122
229
317
415
56
63
711
85
926
106
117
1219
133
147
156
162
1712
187
1936
2017
216
227
2310
2414
2513
263
2714
284
2910
303
3112
3212
3313
345
356
368
374
389
3913
4010
4113
427
435
4424
455
464
477
4816
495
34.23% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats35
diversityRatio0.21171171171171171
totalSentences222
uniqueOpeners47
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount7
totalSentences205
matches
0"Somewhere close, wildflowers with year-round"
1"Instead, it clicked."
2"Then another started."
3"Then the screen flickered."
4"Then it tilted its head."
5"Only one person ever called"
6"Then the portal hand seized"
ratio0.034
58.05% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount83
totalSentences205
matches
0"I had come for this"
1"It led me like a"
2"I stepped past the last"
3"It did not shift like"
4"I kept my head up"
5"My stomach tightened, not with"
6"It sounded like a clock"
7"I tightened the grip on"
8"It carried the coppery stink"
9"I stopped moving."
10"I forced my breathing to"
11"I did not turn yet."
12"It brightened, inner glow deepening"
13"I slid a fingertip across"
14"I lifted the pendant to"
15"I felt it more than"
16"I kept my hand steady."
17"I said, voice flat, eyes"
18"It smelled of ash and"
19"It carried rhythm, the kind"
ratio0.405
33.17% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount175
totalSentences205
matches
0"The pendant burned in my"
1"Heartstone pulsed, deep crimson light"
2"I had come for this"
3"The Grove sat out of"
4"It led me like a"
5"I stepped past the last"
6"The air changed."
7"It did not shift like"
8"Sounds thinned, then rearranged themselves."
9"I kept my head up"
10"The stones formed a rough"
11"My stomach tightened, not with"
12"It sounded like a clock"
13"I tightened the grip on"
14"The warmth spread up my"
15"The scar lit under my"
16"A Hel portal, I told"
17"The pendant said so with"
18"The Grove answered with a"
19"A wet inhale drifted through"
ratio0.854
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences205
matches(empty)
ratio0
38.83% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences103
technicalSentenceCount15
matches
0"Heartstone pulsed, deep crimson light breathing under my thumb, warm enough to feel wrong against the chill that lived in my bones."
1"Somewhere close, wildflowers with year-round bloom looked too perfect, petals holding their colour without dew or dust, as if the world had forgotten to weather…"
2"The stones formed a rough circle, ancient oak trunks and pale bark with lichen that should have been quiet."
3"The scar lit under my touch, heat blooming there as if something beneath my flesh had woken."
4"The taste hit too fast, as if my mouth remembered blood."
5"It sounded like someone rubbing paper over paper, a dry friction that rasped against the ear."
6"The blue had dulled to a bruised grey, and a thin dark line traced the crescent scar on my wrist in the reflection, as if the pendant had marked me from the ins…"
7"It unfolded like a door kicked out from its hinges, and the darkness inside did not just look deep, it looked thick, layered, full of distance that behaved like…"
8"It came through with a sensation of presence that made my eyes water."
9"A voice, close and intimate, whispered from the portal, and the words landed in my ear as if the sound had travelled through bone."
10"It pulsed faintly with crimson light that echoed the pendant’s heartbeat."
11"Not Eva, not Silas, not the delivery drivers who shouted my order numbers."
12"It was a pressure in my skull, a grinding sensation that made my teeth ache."
13"I lunged for the pendant’s chain, hands outstretched, fingers scraping moss that turned to something slick and cold beneath my palms."
14"A voice screamed my name through the seam, not in words this time, in vibration, in a command that made my ribs vibrate in sympathy."
41.67% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags6
uselessAdditionCount1
matches
0"I said, voice flat, eyes trained on the seam in the stone"
66.67% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount1
fancyTags
0"I snapped (snap)"
dialogueSentences10
tagDensity0.6
leniency1
rawRatio0.167
effectiveRatio0.167
82.0448%