Run: 2026-03-18-01KM0A0QNXQJEEH5438FJ8V4MK

Run Details

Duration:
38.9s
Cost:
$0.034760
Provider:
OpenAI

Model input

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

Model response

AI
"Aurora Carter." Rory’s hand stopped on the glass. "Don’t call me that." The woman at the far end of the bar tipped her head, as if she had expected the flinch and enjoyed it anyway. She wore a narrow black coat that looked too fine for The Raven’s Nest, too clean for the scuffed stools, the map-stained walls, the old photographs staring down from their frames with their dead, inked eyes. Her hair, once thick and wild in Rory’s memory, now lay in a sharp copper bob that ended at her jaw. Her mouth held the same cruel shape it always had, but the rest of her looked pared down, sharpened by years that had cut away the soft parts. Behind Rory, a pint glass clinked against another. Silas stood at the shelves with a tea towel over one shoulder, his silver signet ring catching the bar light when he turned a bottle in his hand. The green neon sign above the entrance buzzed through the front window and painted the room in sickly calm. "You kept the name, then," the woman said. "You kept the coat." The woman gave a thin smile. "I had to keep something." Rory set the glass down with care. Her left wrist, the crescent scar on it, flashed white under the light as she reached for the bottle. "You’ve got a lot of nerve walking in here." "I came for a drink." "No, you didn’t." Silas glanced over, then went back to the shelf as if he had not heard a thing. He moved with his slight limp hidden under habit, his body refusing to advertise what his knee had cost him. The woman slid onto a stool and placed both hands on the bar, palms down. Her nails were short and clean. No rings. No wedding band tan line. One wrist bore a pale line where something had once pressed hard against her skin for too long. "You always did love a dramatic entrance." "You used to love stealing my cigarettes and calling it research." "That was fieldwork." "It was theft." She looked at Rory properly then, with the full, direct stare that had once made seminar tutors fold like damp cardboard. The silence stretched between them, thick as old smoke. "You look different," Rory said. The woman gave a one-shouldered shrug. "You look like you learned how to disappear." Rory’s fingers tightened around the bottle neck. "What do you want, Nia?" At the sound of her name, Nia Griffiths’ mouth twitched. Not quite a smile. Not quite pain. "So you do remember." "I remember enough." "You always did. That was your problem." Silas set a tumbler down behind the bar and leaned his weight against the counter. "If this is a family dispute, take it outside. My glasses have suffered enough." Nia glanced at him, then back to Rory. "He always speak like that, or has age made him theatrical?" "Only when he’s bored," Rory said. "Which is most of the time." Silas huffed. "And yet you remain employed." Nia looked from one to the other, and something in her face shifted, not surprise exactly, more the ache of finding a room no longer arranged as memory promised. "You work here." "Sometimes." "That was not the answer I expected." "You and me both." She stared at the maps on the wall, at the black and white photograph of a dockside no one in the room had ever seen. "I walked past the sign twice before I came in." "Lost?" "Looking." "For what?" "For you, apparently." Rory barked a short laugh that held no humour. "That’s a fine way to ruin an evening." "You left Cardiff," Nia said. "You left the flat, the lectures, the pub by the station with the sticky tables. You left without saying goodbye." Rory picked up the glass she had set down and wiped at a mark that did not exist. "That’s a dramatic way to put it." "It’s a simple way." Silas filled the silence with the soft scrape of glass on wood. He said nothing, but his eyes stayed on Nia now, older than the room and far less forgiving. Nia’s gaze flicked to Rory’s wrist. The crescent scar sat plain against her skin, a small pale hook of a wound from another life. "You still have that." "It’s not a collection piece." "It was always on your left hand when you lied." Rory set the cloth aside. "And you always noticed too much." "And you always noticed nothing when you did not want to." The old rhythm of it hit like a bruise. Cardiff. Late libraries. Rain on bus windows. Nia with her hair in a knot and Rory pretending she understood more than she did, both of them too young to know how quickly a life could shear clean in the middle and keep going as if nothing had happened. "You vanished too," Rory said. "Don’t dress it up." Nia’s eyes cooled. "I stayed long enough to watch you disappear first." Silas made a soft sound through his nose, not quite a laugh. He turned and reached for a bottle of rye. Rory looked at Nia more carefully then. The expensive coat hung well on her shoulders, but the cuffs had started to fray. There was a fine shadow under her eyes, the sort that came from bad sleep and worse decisions. A faint bruise bloomed at her throat, already yellowing at the edges. Not fresh, not ancient, just recent enough to matter. "Who hit you?" Nia’s mouth flattened. "You still ask questions like a solicitor." "You still dodge like a politician." Silas poured. "Neither of them ever answered the question in front of them." Nia turned her head towards him. "You always eavesdrop?" "Only when the conversation promises entertainment." She gave him a look that would have felled a lesser man. "I’m not here for your entertainment." "No," Silas said. "You came to my bar for privacy, which means someone has taught you the wrong lessons." Rory took the bottle from his hand and set it down harder than she meant to. "Stop circling." Nia reached into her coat and Rory’s hand moved before thought had a say in it, a small instinctive jerk towards the shelf beneath the bar. Nia saw it. Of course she did. "You still keep knives under the counter," she said. "Depends who walks in." Nia drew out not a weapon, but a folded envelope, creased and damp at one edge. She did not hand it over yet. She held it between two fingers as if it might stain her. "I found something," she said. "That sounds ominous." "It is." Rory glanced once at Silas. He had gone still in the way that men with old training sometimes did, every muscle arranged around the possibility of trouble. His hazel eyes stayed on Nia’s hand. "What kind of something?" Rory asked. Nia’s voice lowered. "A name. One I hoped had stayed buried." Rory felt the room narrow. "Whose?" Nia let out a slow breath through her nose. "Evan’s." The bottle in Rory’s hand clicked against the bar. Not hard. Hard enough. Silas looked at Rory, then at Nia, and whatever he read there pulled a faint crease between his brows. "That’s not a name you bring into my place without consequences." "It wasn’t a choice," Nia said. "It never is." Rory’s throat tightened on something ugly and old. She kept her face blank with the same discipline she used when a customer sent back food, when a drunk got handsy, when memory clawed at her from behind the eyes. "You found him," Rory said. Nia slid the envelope across the bar. "I found his name on a form, then another, then three addresses that do not exist on any map worth trusting. Someone’s using him, or he’s using them. I don’t care which. I care that he asked after you." The envelope stopped against Rory’s hand. She did not pick it up. "He doesn’t know me," Rory said. Nia gave her a long, flat look. "He knows enough to ask whether you still answer to Aurora." Silas set his glass down with a sharp little crack against the counter. "That’s unpleasant." Rory’s fingers curled around the edge of the envelope. The paper felt too light for what it carried. "Who asked?" Nia hesitated. Just once. It was small, almost nothing, but Rory caught it. "You’ve changed," Rory said. "So have you." "No. You changed first." Nia’s jaw worked. The bruise at her throat pulled when she swallowed. "You left me with your mess and called it distance." Rory’s laugh this time held no sound at all. "My mess?" Nia leaned in, the polished shell cracking at the edges. "Your phone went dead. Your flat emptied. Your mother rang my number because she thought I might know where you’d gone. I had no answer for her. I had no answer for anyone. Then your lovely little ex turned up at the station bar where I worked and asked after me by name, as if he had some right." Silas’s hand closed around the bottle neck. "That ought to have reached me." "It didn’t," Nia said, without looking at him. Rory stared at her. "He found you?" Nia’s lips pressed together. "For ten minutes. Long enough to smile." The bar seemed to contract around them. Glasses chimed softly when someone in the back room moved. The bookshelf that concealed the hidden door stood half-open, a dark seam in the wall. Rory’s voice came out colder than she felt. "You should have told me." "I did." "When?" Nia’s gaze did not move. "Every time I rang and you didn’t pick up." That landed. Rory let it. She had no defence for the pile of missed calls, the unopened messages, the sudden habit of becoming a ghost because a ghost felt safer than being reachable. Silas broke the silence first. "You came here with a name, a bruise, and a vanished man. That suggests either stupidity or desperation." "How flattering." "It’s a fair estimate." Nia finally pushed the envelope fully across the bar. Rory opened it. Inside lay a photograph, folded once, then again. Rory smoothed it out and saw a grainy image of a street corner, a doorway, and a man she knew by posture before face. Even in the smear of low resolution, even with time and bad light softening the edges, the shape of him hit like a fist. Evan. He stood outside a shuttered shop with one hand in his pocket and a familiar tilt to his head, that smug bend of the neck that had once made Rory’s stomach turn. He looked older. Harder. Someone had split the skin at the corner of his mouth. Rory’s pulse kicked once, hard. "Where did you get this?" she asked. Nia pointed at the back of the photograph. "Turn it over." Rory did. A string of numbers sat there, along with a name she did not know and a symbol she recognised only because Silas had once shown her how the world liked to hide itself in plain sight. Silas swore under his breath. "Bloody hell." Nia watched him. "You know it." Silas did not answer her. He looked at Rory. "Put that away." "Not until you tell me what it means." "It means your old life has put a hand on the door." Rory folded the photograph once, then twice, but did not put it down. "You recognise him." Silas took one step closer to the bar. The signet ring flashed silver. "I recognise the sort of man who smiles after he’s hurt someone." Nia’s eyes had gone fixed on the hidden door behind the bookshelf. "There’s more." "Of course there is," Rory said. She reached into her coat again, and this time Rory saw the shape of the thing before Nia brought it out, a small brass key on a frayed blue thread. Not old enough to be antique, not new enough to be harmless. Nia laid it on the bar beside the photograph. "This was in his drawer," she said. Silas stared at the key, then at Rory. A change moved through him, not in the face, but in the body. The old operative woke behind the landlord, and Rory felt it, the room tightening around an unseen threat. "Where exactly," Silas said, his voice low now, "did you take that from?" Nia opened her mouth to answer. The front door banged open so hard the green neon rattled in its bracket. Cold air rushed in with three men in dark coats and hard shoes, one of them already scanning the room, another with his hand buried deep in his pocket. The tallest man fixed on Nia first. "There you are," he said. "We’ve been looking all evening."
created_at"2026-03-18T11:06:43.286Z" 3/18/2026, 11:06:43 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency30295
moderation_latency(null)
generation_time38499
tokens_prompt4618
tokens_completion4018
native_tokens_prompt4131
native_tokens_completion7612
native_tokens_completion_images0
native_tokens_reasoning4856
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"
usage0.03476025
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_065ddd2e3747c3420169ba87435b548190914032004d3106b4"
is_byokfalse
latency199
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-1773832003-RnjosZ7Zse4DOjJXg3hA"
upstream_id"resp_065ddd2e3747c3420169ba87435b548190914032004d3106b4"
total_cost0.03476025
cache_discount0.002592
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags19
adverbTagCount0
adverbTags(empty)
dialogueSentences105
tagDensity0.181
leniency0.362
rawRatio0
effectiveRatio0
92.99% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2140
totalAiIsmAdverbs3
found
0
adverb"quickly"
count1
1
adverb"carefully"
count1
2
adverb"softly"
count1
highlights
0"quickly"
1"carefully"
2"softly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
78.97% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2140
totalAiIsms9
found
0
word"silence"
count3
1
word"weight"
count1
2
word"flicked"
count1
3
word"familiar"
count1
4
word"stomach"
count1
5
word"pulse"
count1
6
word"scanning"
count1
highlights
0"silence"
1"weight"
2"flicked"
3"familiar"
4"stomach"
5"pulse"
6"scanning"
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
narrationSentences150
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences150
filterMatches(empty)
hedgeMatches
0"started to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences236
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen59
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2140
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions34
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions101
wordCount1491
uniqueNames5
maxNameDensity3.02
worstName"Rory"
maxWindowNameDensity6
worstWindowName"Rory"
discoveredNames
Raven1
Nest1
Rory45
Nia35
Silas19
persons
0"Raven"
1"Rory"
2"Nia"
3"Silas"
places(empty)
globalScore0
windowScore0
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences94
glossingSentenceCount1
matches
0"not quite a laugh"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.935
wordCount2140
matches
0"not a weapon, but a folded envelope, creased"
1"not in the face, but in the body"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences236
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs130
mean16.46
std16.8
cv1.021
sampleLengths
02
16
24
3108
455
58
64
711
835
95
103
1137
1246
137
1411
153
163
1730
185
1914
2012
2121
223
237
2429
2519
2612
277
2832
291
307
314
3235
331
341
352
363
3717
3825
3925
404
4130
4228
435
4410
4511
4611
4757
489
4912
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences150
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs246
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences236
ratio0
matches(empty)
95.71% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount735
adjectiveStacks0
stackExamples(empty)
adverbCount33
adverbRatio0.044897959183673466
lyAdverbCount4
lyAdverbRatio0.005442176870748299
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences236
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences236
mean9.07
std8.28
cv0.914
sampleLengths
02
16
24
323
436
521
628
78
828
919
108
114
126
135
147
1519
169
175
183
1917
2020
2115
226
232
245
2518
267
2711
283
293
3021
319
325
336
348
357
365
3710
384
393
404
413
427
4315
4414
458
4611
476
486
492
44.07% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.2542372881355932
totalSentences236
uniqueOpeners60
27.55% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences121
matches
0"Of course she did."
ratio0.008
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount23
totalSentences121
matches
0"She wore a narrow black"
1"Her hair, once thick and"
2"Her mouth held the same"
3"Her left wrist, the crescent"
4"He moved with his slight"
5"Her nails were short and"
6"She looked at Rory properly"
7"She stared at the maps"
8"He said nothing, but his"
9"He turned and reached for"
10"She gave him a look"
11"She did not hand it"
12"She held it between two"
13"He had gone still in"
14"His hazel eyes stayed on"
15"She kept her face blank"
16"She did not pick it"
17"It was small, almost nothing,"
18"She had no defence for"
19"He stood outside a shuttered"
ratio0.19
17.85% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount107
totalSentences121
matches
0"Rory’s hand stopped on the"
1"The woman at the far"
2"She wore a narrow black"
3"Her hair, once thick and"
4"Her mouth held the same"
5"Silas stood at the shelves"
6"The green neon sign above"
7"the woman said"
8"The woman gave a thin"
9"Rory set the glass down"
10"Her left wrist, the crescent"
11"Silas glanced over, then went"
12"He moved with his slight"
13"The woman slid onto a"
14"Her nails were short and"
15"She looked at Rory properly"
16"The silence stretched between them,"
17"The woman gave a one-shouldered"
18"Rory’s fingers tightened around the"
19"Silas set a tumbler down"
ratio0.884
41.32% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences121
matches
0"Even in the smear of"
ratio0.008
42.86% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences50
technicalSentenceCount7
matches
0"She wore a narrow black coat that looked too fine for The Raven’s Nest, too clean for the scuffed stools, the map-stained walls, the old photographs staring dow…"
1"Her mouth held the same cruel shape it always had, but the rest of her looked pared down, sharpened by years that had cut away the soft parts."
2"She looked at Rory properly then, with the full, direct stare that had once made seminar tutors fold like damp cardboard."
3"Nia with her hair in a knot and Rory pretending she understood more than she did, both of them too young to know how quickly a life could shear clean in the mid…"
4"There was a fine shadow under her eyes, the sort that came from bad sleep and worse decisions."
5"The bookshelf that concealed the hidden door stood half-open, a dark seam in the wall."
6"He stood outside a shuttered shop with one hand in his pocket and a familiar tilt to his head, that smug bend of the neck that had once made Rory’s stomach turn…"
72.37% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags19
uselessAdditionCount2
matches
0"Nia said, without looking at him"
1"Silas said, his voice low now,"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags19
fancyCount0
fancyTags(empty)
dialogueSentences105
tagDensity0.181
leniency0.362
rawRatio0
effectiveRatio0
83.7897%