Run: 2026-03-18-01KM09V5YGYJ0EGG91QKJHN9X6

Run Details

Duration:
17.4s
Cost:
$0.004318
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 pressed the Heartstone Pendant against her left wrist, the crescent scar warming beneath silver and crimson, and she stepped over the last oak standing stone like she was crossing a line drawn in chalk. The sound followed her immediately, not through the air but through her teeth. A steady, delicate clicking, tick-tick-tick, like cutlery against porcelain, except it kept rhythm with her heartbeat and it never changed. Her phone’s flashlight cut a pale cone through wildflower stems and thin, looping ferns. The clearing looked ordinary at first, Richmond Park green pulled into a smaller shape, standing stones tight around it like the circle of a stage. But her breath snagged, because the click did not come from anywhere she could see. It came from everywhere, layered under her own pulse, as if the grove had found a way to count her. “You wanted me,” she said, and her voice sounded too clean in the pocket of air. The pendant gave a faint pulse. Warmth gathered behind her ribs, then slipped away. The gem’s inner glow steadied, deep crimson held under glass. She had the reason already in her hands, written in her own notes on a scrap of paper folded into her jacket pocket. She had memorised the route, stitched it from rumours, from warnings Eva had hissed into her kitchen like prayer gone wrong, and from the small, reckless faith Aurora kept despite everything. Heartstone near a Hel portal. Hel portals, wherever they hid, liked to be acknowledged. She moved away from the boundary stones and kept her eyes slightly unfocused, the way she did when she needed to read a page in bad lighting. That tactic helped with paperwork. It helped with spiders. It helped, she realised, because it prevented the mind from grabbing at patterns too quickly. The grove refused to stay stable. Within her flashlight cone, wildflowers bloomed in clusters that should not have been possible, year-round brightness in a place that did not obey the same seasons as the rest of Earth. Their petals trembled without wind. She watched the stems shift and stopped herself from reacting, because she could not tell if the movement came from the plants or from something slipping past her peripheral vision. Aurora reached down and plucked one of the flowers by its stem. The petals felt dry and papery, but the underside of the leaf carried a sheen like fresh skin. She held it up. The flower’s centre held a tiny spiral, not quite a seed head, too perfect to be natural. It reminded her of a labyrinth drawn by someone who had never seen a maze in person, only in books. Her stomach tightened. She turned the flower slowly. The spiral did not change. That was the unsettling part. When she rotated the flower, the grove rotated with her. Not the whole clearing, just the way the space arranged itself around her. Her flashlight beam slid across leaves and returned, as if she had moved nothing at all. The clicking ticked louder. Aurora let the flower go. It did not fall. It stayed suspended for one, impossible breath, then settled into place as though it had always been there. She checked her notes without pulling out the paper. Her fingers found the fold inside her pocket. She read it like a spell she could not afford to get wrong. Hel portal. Offer. A name. Aurora swallowed. “My name won’t buy me safety.” The pendant warmed again, harder this time, a pulse that dragged heat up her arm and under her jaw. She felt it in her molars. The clicking changed, shifting from cutlery rhythm to something rougher, scrape-scratch, like fingernails across wood. Still no footsteps. Still no visible speaker. Only the sound, building with controlled patience. A pale shape slid across the edge of her vision. She spun her head too fast and her flashlight beam jittered, catching nothing but ferns. Her pulse tripped. She forced her shoulders down. It was a grove, she told herself, a pocket between Earth and the Fae, and pockets of wrongness played tricks. That sort of thinking kept her functional. It kept her alive. Another movement came, slower, almost polite. A line of shadow moved behind her from left to right, following her arc when she shifted stance. It did not behave like an animal. It did not break apart as her beam passed over it. Aurora held the flashlight steady and stared until her eyes watered. The shadow remained, then thinned, as if it had decided she was not worth turning away for. She felt it withdraw, leaving behind a colder patch of air that tightened her skin. The pendant pulsed once, then steadied, as if it had approved. “Fine,” she said. “You can stop hiding.” The grove replied with a sound that resembled laughter only in its cadence. It came in two notes, one higher, one lower, and both ended too abruptly, cut off like a record needle catching a groove. Aurora’s mouth went dry. She did not step back. She did not rush forward. She did what she did when a contract turned nasty, when the other side started using language she could not ignore. She watched the pattern, listened for the next clause. The air thickened. Not with smell, not with fog. With attention. Her flashlight beam struck the standing stones again, or what she thought were the standing stones. The oaks that marked the boundary looked closer than before. The distance should have been behind her, a simple return path. Instead, the stones sat ahead of her like an invitation she had already refused once. She checked behind her anyway. Her light caught the clearing’s edge, the wildflowers and fern loops bending away in tidy curves. The boundary stones did not sit behind her. They sat to her left now, angled wrong, as if the grove had adjusted its own geometry when she stopped paying attention to it. Aurora tightened her grip on the flashlight and forced a calm breath through her nose. “Okay,” she said quietly, to herself and whoever was listening. “You move space around me.” The clicking paused. Then, very softly, something else joined it. A second sound beneath the tick, like fabric being smoothed, like paper held to a page and rubbed until the ink began to lift. Aurora’s eyes flicked to her left wrist. Her pendant hung at her collar, but she could feel the scar as if it had begun to ache. The crescent mark throbbed, subtle and steady, and she realised the grove had noticed the place where her skin remembered pain. A voice finally arrived. It did not come from a direction. It came from inside her hearing, as if her ears were the speakers. “Rory.” The name landed with the weight of a dropped object, something that had fallen from a higher shelf. Aurora went perfectly still. Only the flashlight trembled once, a tremor in her wrist she could not fully stop. “No one calls me that here,” she said. The voice made a pleased sound, and the clicking resumed at a brisker pace, tick-tick, sharper now, like impatience. The pendant warmed so hard it felt like a fever under her skin. “Given,” the voice said, and the word stretched, warped around a shape Aurora almost recognised. “You carried it, you delivered it. You come when it pings.” Aurora’s throat tightened. She forced herself to breathe. Her part-time work. Deliveries, routes, addresses. The grove had the same language, but it used it like a hook. “I came because you want the Heartstone,” she said. “And because it’s near the Hel portal you’re guarding.” The voice fell silent. Aurora watched for movement. She watched for the air to ripple. She watched for shadow. Her beam slid over flowers and found their spirals again. The labyrinth centres stared back with patient geometry. A low vibration began under her boots, subtle at first. The ground did not shake, it hummed, a note held so long it stopped being a sound and became a pressure. Her teeth buzzed. The pendant pulsed in answer, bright crimson swelling like a bruise beneath skin. Aurora stepped forward, not toward the stones, not toward the centre of the clearing, but toward the vibration. The hum seemed to deepen where the wildflowers grew closest together, where their stems formed a dense, almost deliberate carpet. Her flashlight beam found a spot in the grass where nothing should have been. The air there looked slightly wrong, a shimmer with edges too crisp to be heat distortion. It reminded her of glass seen through water. A hel portal did not announce itself with drama. It did not glow and spit smoke. It behaved like a seam someone had stitched into the world, and the world kept trying to pretend the seam wasn’t there. Aurora crouched, heart hammering in a way she refused to call fear. The seam breathed. Not in and out like lungs, but in tiny adjustments, as if the portal tested which angles would swallow her. Her flashlight beam bent at the seam’s edge, skimming around it instead of passing through. The clicking stopped again. A new sound replaced it, a slow drag, like nails drawing lines on wood. It traced around the seam without touching the grass. Aurora pulled the folded paper from her pocket and unfolded it with careful fingers. The ink on the page had changed. Her handwriting looked correct at a glance, but the letters shifted when she looked directly at them, rearranging like living script. She tried to read it anyway. The line she needed had formed at the top, new ink, fresh and dark. Offer a name. Her stomach churned. She already knew her name did not buy safety. She had not come to sell herself to a monster, she had come to close a problem. But the grove did not speak in morals. It spoke in transactions. Aurora lifted the Heartstone Pendant and held it above the seam. The crimson gem pulsed faster, warmth surging through her palm. The air around the pendant grew thicker, like honey poured in slow motion. The seam brightened, faint at first, then clearer. Aurora saw a glimpse beneath the world, a colour that did not belong to any human spectrum. It was not black or red. It was the sensation of standing too close to a wound and realising it might open again. Something moved under the surface of that colour. A shape, just a suggestion, the outline of a face that refused to become a full face. It hovered at the depth where light became unsure. The voice returned, calmer now. “Say it.” Aurora’s mouth opened, and she felt the grove lean in. The seam pulled at her attention like gravity, her thoughts suddenly heavy, as if someone had set weights on them. She did not give in. She lifted her chin, and her voice came out steady, cold enough to cut. “I already said it.” “No,” the voice said. The word sounded amused, then hungry. “Not the one you answer to. The one you stole.” Aurora’s grip tightened. She stared at the seam until her eyes watered. Stole. Her mind supplied images she did not like, legal scraps and false identities and a file number Eva had insisted she keep. She had done what she had to do to get away, to stop being found by the wrong people. Names had been paperwork. Paperwork had been armour. Armour had been necessary. But she had never thought about how it felt to a place like this. The clicking returned, urgent now, and the seam widened by a fraction. Air from beneath it slipped up through the grass and brushed her cheek, cold and metallic, like pennies held under the tongue. Aurora slapped her free hand over the pendant and pulled it back from the seam. “If you want a name,” she said, “take the one you gave me.” The voice faltered, and Aurora understood she had moved the game board by one square. She dug into her pocket with her thumb and found the scrap of paper again, the one that had already started to rewrite itself. Her fingers shook, but she forced them steady. She crushed the paper between her palms and breathed out over it as if she could smother ink. The seam shuddered. The grove’s attention snapped sharply toward her hands. The clicking stuttered, then spiked into a jagged, frantic rhythm. Aurora rose, backed away from the seam in a straight line, and kept her eyes on the wrongness instead of the movement at the edge of her sight. The portal widened. Not gracefully. It tore. The seam split open like fabric under strain, and colour flared up into the air. Shapes pushed at it from the other side, too many, too thin, like hands made of smoke trying to grab the world by its seams. No gore, no violence, just the raw insistence of presence, a crowding pressure that made Aurora’s ears ring. Her flashlight beam dimmed, struggling against the portal’s pull, and the wildflowers around her snapped upright as if something beneath the grass had yanked their roots like puppet strings. Aurora stumbled back into the fern edge. She tried to step over where she remembered the boundary stones should have been, but the grove had already decided the path did not exist. The stones were gone from her view. In their place, a darker oval of space opened, rimmed with silver light, and her Heartstone Pendant burned warm, too warm, yanking against her fingers like it wanted to dive through. The voice laughed, close enough now that she felt it on her skin. “Delivered.”
created_at"2026-03-18T11:03:41.283Z" 3/18/2026, 11:03:41 AM
model"openai/gpt-5.4-nano-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency6950
moderation_latency(null)
generation_time17223
tokens_prompt4560
tokens_completion3588
native_tokens_prompt4064
native_tokens_completion3357
native_tokens_completion_images0
native_tokens_reasoning548
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"
usage0.00431785
router(null)
provider_responses
0
endpoint_id"0c835f2e-c18d-4e8c-b245-e1e3bd08b97f"
id"resp_0861524169770de70169ba868d61e08190b8dc45fecce37f49"
is_byokfalse
latency247
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-1773831821-NLnSFOXWxsBRK70B8SGX"
upstream_id"resp_0861524169770de70169ba868d61e08190b8dc45fecce37f49"
total_cost0.00431785
cache_discount0.0006912
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
totalTags8
adverbTagCount1
adverbTags
0"she said quietly [quietly]"
dialogueSentences18
tagDensity0.444
leniency0.889
rawRatio0.125
effectiveRatio0.111
80.32% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2287
totalAiIsmAdverbs9
found
0
adverb"slightly"
count2
1
adverb"quickly"
count1
2
adverb"slowly"
count1
3
adverb"very"
count1
4
adverb"softly"
count1
5
adverb"perfectly"
count1
6
adverb"suddenly"
count1
7
adverb"sharply"
count1
highlights
0"slightly"
1"quickly"
2"slowly"
3"very"
4"softly"
5"perfectly"
6"suddenly"
7"sharply"
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)
51.90% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2287
totalAiIsms22
found
0
word"porcelain"
count1
1
word"pulse"
count4
2
word"warmth"
count2
3
word"trembled"
count2
4
word"perfect"
count1
5
word"stomach"
count2
6
word"footsteps"
count1
7
word"pulsed"
count3
8
word"flicked"
count1
9
word"could feel"
count1
10
word"throbbed"
count1
11
word"weight"
count1
12
word"traced"
count1
13
word"churned"
count1
highlights
0"porcelain"
1"pulse"
2"warmth"
3"trembled"
4"perfect"
5"stomach"
6"footsteps"
7"pulsed"
8"flicked"
9"could feel"
10"throbbed"
11"weight"
12"traced"
13"churned"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"stomach dropped/sank"
count1
highlights
0"stomach churned"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences196
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount5
narrationSentences196
filterMatches(empty)
hedgeMatches
0"began to"
1"seemed to"
2"tried to"
3"started to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences206
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen35
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2287
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions1
matches
0"It was a grove, she told herself, a pocket between Earth and the Fae, and pockets of wrongness played tricks."
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions42
wordCount2203
uniqueNames9
maxNameDensity1.13
worstName"Aurora"
maxWindowNameDensity2.5
worstWindowName"Aurora"
discoveredNames
Heartstone4
Pendant3
Richmond1
Park1
Eva2
Aurora25
Hel3
Earth2
Fae1
persons
0"Pendant"
1"Eva"
2"Aurora"
places
0"Richmond"
1"Park"
2"Hel"
globalScore0.933
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences137
glossingSentenceCount2
matches
0"not quite a seed head, too perfect to be natural"
1"felt like a fever under her skin"
25.10% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords1.749
wordCount2287
matches
0"not through the air but through her teeth"
1"not toward the stones, not toward the centre of the clearing, but toward the vibration"
2"not toward the centre of the clearing, but toward the vibration"
3"Not in and out like lungs, but in tiny adjustments, as if the portal tested"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences206
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs87
mean26.29
std17.6
cv0.669
sampleLengths
035
133
274
316
424
568
651
76
866
934
1045
115
1244
134
1427
1530
165
178
1840
1914
2010
2154
2242
2311
2432
2511
267
2736
2844
2911
3052
3153
3230
333
3431
3547
3624
371
3837
398
4032
4126
4227
4318
444
4533
4631
4716
4838
4938
99.89% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences196
matches
0"being smoothed"
1"being found"
2"were gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs405
matches
0"was crossing"
1"was listening"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences206
ratio0
matches(empty)
98.56% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount2209
adjectiveStacks0
stackExamples(empty)
adverbCount92
adverbRatio0.04164780443639656
lyAdverbCount19
lyAdverbRatio0.008601177003168854
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences206
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences206
mean11.1
std7.32
cv0.659
sampleLengths
035
113
220
314
425
515
620
716
86
98
1010
1123
1231
135
149
1527
165
174
1815
196
2031
215
2230
2312
2418
254
2617
2720
283
295
305
315
3210
3313
3416
354
365
374
3818
399
408
4113
422
431
442
452
466
4719
486
4915
40.29% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats20
diversityRatio0.21359223300970873
totalSentences206
uniqueOpeners44
72.46% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences184
matches
0"Only the sound, building with"
1"Instead, the stones sat ahead"
2"Then, very softly, something else"
3"Only the flashlight trembled once,"
ratio0.022
61.30% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount73
totalSentences184
matches
0"Her phone’s flashlight cut a"
1"It came from everywhere, layered"
2"she said, and her voice"
3"She had the reason already"
4"She had memorised the route,"
5"She moved away from the"
6"It helped with spiders."
7"It helped, she realised, because"
8"Their petals trembled without wind."
9"She watched the stems shift"
10"She held it up."
11"It reminded her of a"
12"Her stomach tightened."
13"She turned the flower slowly."
14"Her flashlight beam slid across"
15"It did not fall."
16"It stayed suspended for one,"
17"She checked her notes without"
18"Her fingers found the fold"
19"She read it like a"
ratio0.397
8.91% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount166
totalSentences184
matches
0"Aurora pressed the Heartstone Pendant"
1"The sound followed her immediately,"
2"A steady, delicate clicking, tick-tick-tick,"
3"Her phone’s flashlight cut a"
4"The clearing looked ordinary at"
5"It came from everywhere, layered"
6"she said, and her voice"
7"The pendant gave a faint"
8"Warmth gathered behind her ribs,"
9"The gem’s inner glow steadied,"
10"She had the reason already"
11"She had memorised the route,"
12"Heartstone near a Hel portal."
13"Hel portals, wherever they hid,"
14"She moved away from the"
15"That tactic helped with paperwork."
16"It helped with spiders."
17"It helped, she realised, because"
18"The grove refused to stay"
19"Their petals trembled without wind."
ratio0.902
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences184
matches(empty)
ratio0
98.67% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences97
technicalSentenceCount6
matches
0"Within her flashlight cone, wildflowers bloomed in clusters that should not have been possible, year-round brightness in a place that did not obey the same seas…"
1"She felt it withdraw, leaving behind a colder patch of air that tightened her skin."
2"They sat to her left now, angled wrong, as if the grove had adjusted its own geometry when she stopped paying attention to it."
3"Her flashlight beam bent at the seam’s edge, skimming around it instead of passing through."
4"The seam pulled at her attention like gravity, her thoughts suddenly heavy, as if someone had set weights on them."
5"Her flashlight beam dimmed, struggling against the portal’s pull, and the wildflowers around her snapped upright as if something beneath the grass had yanked th…"
62.50% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags8
uselessAdditionCount1
matches
0"the voice said, and the word stretched, warped around a shape Aurora almost recognised"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount0
fancyTags(empty)
dialogueSentences18
tagDensity0.444
leniency0.889
rawRatio0
effectiveRatio0
82.4048%