Run: 2026-03-18-01KM0A3GPAMF670J7NGEQK7GYD

Run Details

Duration:
15.1s
Cost:
$0.012813
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
Rory’s boot sank into wet earth, and the standing stone answered with a low, toothless hum. She froze with her hand still on the silver chain at her throat. The Heartstone Pendant sat against her skin, a hard red thrum tucked beneath her fingers, warm as a heartbeat she had no right to feel. “Not subtle, are you?” she muttered. The clearing held its breath around her. Ancient oaks ringed the grove like witnesses with their faces turned away. Wildflowers crowded the ground in bright, impossible patches, white and blue and bruised purple, all of them too fresh for a place that felt half-buried in the world. Rory shifted her weight and heard the grass whisper under her soles. Behind her, where the path should have led back to Richmond Park, the trees had already knitted themselves together in a wall of dark branches. She looked over her shoulder twice. The entrance had gone. “Brilliant.” The pendant pulsed once, as if in answer. She wrapped her palm around it and took another step into the clearing. The air changed with each pace. Not colder. Not warmer. Just thicker, the way a room felt when someone had drawn a curtain over a mirror. Her shoulders tightened. A small crescent scar on her left wrist tugged against the sleeve of her coat as she reached into it and checked her phone again. No signal. No bars. No surprise. She thumbed the screen off and lifted her chin. “Isolde?” Her voice came out flatter than she meant it to. “I’m here.” Nothing. She knew better than to expect a neat answer. The grove never behaved like a house with a door. It had rules, and those rules shifted when they pleased. She had come because the Heartstone had started warming in her flat above Silas’ bar three nights in a row, each pulse sharp enough to wake her. Yu-Fei had told her to stop looking at the thing like it owed her money. Eva had said, in that careful tone she used before bad news, that a relic only moved like that for a reason. So Rory had followed the tug through streets, rail lines, and a tired stretch of parkland, the pendant growing hotter with each turn until the trees had thinned and the grove had opened before her like a wound. Now she stood inside it with no one to ask and no way back. A faint rustle skimmed the flower bed to her left. Rory snapped her head round. A fox, lean and red-brown, nosed through the blooms near the standing stones. It lifted its head, and for a second its eyes caught the little light that pooled under the trees and turned it back at her, silver and too knowing. “Shoo.” The fox did not move. It stared, ears pricked, then tilted its head as if listening to someone standing just behind Rory’s shoulder. Her stomach tightened. She did not turn. She watched the animal’s gaze slide past her, up and over, then flick back to her face. Its mouth opened a fraction. Not a bark. Not a growl. A breath, wet and human. Rory reached for the pepper spray in her coat pocket. The fox bolted. She whipped round on the retreat, but the clearing stayed empty. Flowers trembled in the fox’s wake. One of the standing stones seemed farther away than it had a moment ago, though she could not have said how. She swallowed, slow and deliberate, and forced herself to keep moving. The grove opened at the centre into a shallow bowl of earth where the grass grew thicker and darker. On her right, an old oak leaned over the hollow, its roots twisted above ground like knuckles. At its base lay a ring of pale stones that had not been there from the entrance, smooth and placed with the sort of care that made her skin crawl. She crouched and reached for one. The Heartstone burned. Rory hissed and jerked her hand back. The stone at her feet had a line carved across it, thin as a hair. She squinted. Not a line. A letter. Then another. Faded, half-swallowed by lichen. She brushed a thumb over the surface, and the grooves filled with moisture from nowhere, darkening to a deep black that shone in the dim light. “Lovely,” she said. A sound answered from the tree line. Not a footstep. Not quite. More like a branch tapping against bone. Rory straightened. The grove had gone still in a way that felt arranged. Even the leaves seemed to hold themselves in place. She searched the dark between the trunks. Nothing. Then the tapping came again, from the opposite side. Her pulse climbed. She turned in a slow circle, keeping her shoulders loose, her breathing measured. The same tricks she had used in Cardiff when Evan had come home in a mood and started slamming doors hard enough to rattle the frames. Stay calm. Stay useful. Stay out of reach. It had not worked then. It would not work now if she panicked first. “Enough,” she said, to the trees, to the dark, to whatever else listened. “If this is your idea of hospitality, it’s poor form.” A laugh slipped through the branches. Not loud. Not close. A woman’s voice, thin as thread. Rory’s hand closed on the pepper spray. “Who’s there?” No answer. The laugh came again, nearer this time, and not from the same direction. It wound around her, brief and sly, as if someone had walked a circle through the flowers without disturbing them. The pendant throbbed against her chest. She backed towards the bowl’s edge, eyes jumping from trunk to trunk. The trees did not move, but something did. She saw it in the corner of her vision, a pale shape passing behind an oak, quick as a hand dropping out of sight. She turned fully. The shape was gone. Then it flashed again, low to the ground, near the ring of stones. Rory crouched and peered into the shadow beneath the roots. A white face looked back. She stumbled and hit the ground hard, breath knocked out of her in one sharp burst. The pepper spray skidded from her grasp. She scrambled for it, fingers clawing through mud and grass, but the face had vanished by the time she found the canister. “Come on,” she spat, dragging herself upright. “Come out, then.” Her voice cracked on the last word. She hated that. Hated the small tremor in it. A hush settled over the grove. Then, from behind her, a voice said, “You should not have brought that here.” Rory spun so fast her hip clipped the stone ring. Pain flared along her side. No one stood there. She looked down instinctively. The Heartstone had gone white-hot in her fist. Warmth had become pain, a hard, bright ache that beat in time with her own pulse. She almost dropped it. The silver chain bit into her skin. “Who’s there?” The answer came from the oak roots. A child sat there, legs folded neatly beneath a dress of grey moss and leaf-mould. Rory stared at her, certain for one impossible second that the girl had not existed before the question left her mouth. She had dark hair hanging in wet ropes over her face and too many fingers resting on the ground, each one long and pale as fungus. Rory took a step back. The child lifted her head. Her eyes were black. “You came with a wound in your pocket.” The grove seemed to tilt. Rory’s grip tightened so hard the pendant edges dug into her palm. “I don’t know what that means.” “You do.” The voice had no breath in it. It sounded as if the child spoke through a drainpipe under the earth. Rory’s mouth went dry. “The pendant drew me here.” The child smiled, and the expression did not reach those dark eyes. “It always does.” A crack sounded overhead. Rory flinched and looked up. One of the branches had split cleanly down the middle. No wind touched it. The broken halves held in place for a beat, then sagged together with a soft, sickening creak. When she looked back, the child had shifted closer. Not walked. Shifted. Rory’s skin prickled. She stepped backwards again, and her heel sank into something soft. She glanced down. A second set of footprints had pressed themselves into the mud behind her own. Bare feet. Small. Fresh. Her breath caught. The child’s feet rested several paces away. “You’re not alone,” she said. “No,” the child replied. “Neither are you.” Rory jerked round. The laugh returned, this time from the stone ring itself. Another voice joined it, then another, low and pleased. Shapes moved under the flowers, under the roots, between the trunks. Not bodies, not properly. Edges. Hints. Profiles that showed for a heartbeat and then bent away, as if the grove had decided not to admit them all at once. Rory backed into the oak, bark scraping her coat. The pendant had stopped warming and had started to hammer, hard enough that she felt it in her teeth. “Out,” she said. One of the shapes came into view beside the nearest standing stone. Tall. Wrongly jointed. It wore a human outline the way smoke wore a window. Where its face should have been, pale marks flickered and shifted, like reflections on water. Rory lifted the pepper spray and thumbed the cap. The thing cocked its head. Its mouth opened. Something inside it clicked, slow and dry, as though a dozen small teeth had rubbed together. Rory sprayed. The mist struck empty air. The thing had already moved, leaning aside with a grace too smooth for any living body. Rory lurched after it and nearly went over the ring of stones. A hand, cool and rough like damp bark, brushed the back of her neck. She spun and slashed out with the pendant still trapped in her fist. The red stone struck flesh. A shriek ripped through the grove. Not from one place. From everywhere. The sound hit her chest like a physical blow. Birds exploded from the trees in a frenzy of black wings. Rory stumbled, hands over her ears, and saw the tall shape fold in on itself, not bleeding, not breaking, but losing definition, as if the grove had forgotten how to hold it together. The child was standing now. Or had always stood. Rory could no longer tell. “You should have left it buried,” the child said. “What is it?” The child’s black eyes fixed on the pendant. “A key. A lure. A debt.” The shriek died into a wet whisper. Rory lowered her hands enough to look. The grove had changed. The standing stones no longer formed a loose circle. They leaned inward, each one angling towards the centre like teeth around a throat. The flowers at her feet had darkened to bruised shades, their petals curling inward in tiny fists. The trees beyond the clearing seemed much farther away than before, their trunks stretched thin and tall, all of them bent towards the bowl of earth. No path. No entrance. No easy way out. Rory felt the first real stab of fear then, sharp and clean. Not because she could not see the way home. Because the grove had begun to close. A soft scraping came from beneath the ground. She looked down. The earth at the centre of the clearing bulged, then split along a narrow seam. Dark soil crumbled away. A sliver of red light leaked through the crack, faint at first, then brighter, pulsing in the same rhythm as the Heartstone. Rory stared at it. The pendant answered with a violent surge of heat. She gasped and nearly dropped it. The silver chain twisted around her fingers as the gem flared, deep crimson to a blood-bright white at its core. The child stepped backwards. For the first time, something like alarm crossed that dead face. “Don’t open it,” the child said. The seam widened with a groan from deep underground. Something breathed from below. Not air. Wet, old hunger. Rory stumbled away from the crack as the earth split further, a jagged mouth opening at the centre of the grove. The red light inside it brightened enough to stain the stones, the flowers, her own hands. She could smell iron now, and damp stone, and something sweet rotting under the sweetness. The pendant jerked in her grip. Her wrist snapped forward. The chain went taut. Rory looked down and saw, with a cold lurch in her gut, that the silver had begun to unspool itself from her fist, strand by strand, as if an unseen hand below the earth had hooked it and started to reel. “No,” she breathed. The child’s voice came small and sharp from behind her. “Rory.” She turned just in time to see the standing stones tilt all at once, every pale slab angling towards the裂 opening in the earth as the grove gave a deep, satisfied moan, and something vast and red began to climb towards the surface.
created_at"2026-03-18T11:08:14.435Z" 3/18/2026, 11:08:14 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency377
moderation_latency(null)
generation_time14837
tokens_prompt4560
tokens_completion3323
native_tokens_prompt4064
native_tokens_completion2746
native_tokens_completion_images0
native_tokens_reasoning0
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"
usage0.012813
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_0f85d081a11dadfe0169ba879e7e708195b472a6bbdf32f290"
is_byokfalse
latency173
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-1773832094-DP0x95ZmFCNZawXAALt9"
upstream_id"resp_0f85d081a11dadfe0169ba879e7e708195b472a6bbdf32f290"
total_cost0.012813
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
totalTags13
adverbTagCount0
adverbTags(empty)
dialogueSentences28
tagDensity0.464
leniency0.929
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2189
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
65.74% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2189
totalAiIsms15
found
0
word"weight"
count1
1
word"whisper"
count2
2
word"pulsed"
count1
3
word"pulse"
count3
4
word"stomach"
count1
5
word"trembled"
count1
6
word"measured"
count1
7
word"throbbed"
count1
8
word"warmth"
count1
9
word"flickered"
count1
10
word"lurched"
count1
11
word"lurch"
count1
highlights
0"weight"
1"whisper"
2"pulsed"
3"pulse"
4"stomach"
5"trembled"
6"measured"
7"throbbed"
8"warmth"
9"flickered"
10"lurched"
11"lurch"
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
narrationSentences228
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount5
narrationSentences228
filterMatches(empty)
hedgeMatches
0"seemed to"
1"started to"
2"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences244
gibberishSentences1
adjustedGibberishSentences1
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen43
ratio0.004
matches
0"She turned just in time to see the standing stones tilt all at once, every pale slab angling towards the裂 opening in the earth as the grove gave a deep, satisfied moan, and somethi…"
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2189
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions46
wordCount2086
uniqueNames10
maxNameDensity1.39
worstName"Rory"
maxWindowNameDensity3
worstWindowName"Rory"
discoveredNames
Heartstone5
Pendant1
Richmond1
Park1
Yu-Fei1
Rory29
Cardiff1
Evan1
One3
Stay3
persons
0"Heartstone"
1"Pendant"
2"Yu-Fei"
3"Rory"
4"Evan"
5"Stay"
places
0"Richmond"
1"Park"
2"Cardiff"
globalScore0.805
windowScore0.667
73.66% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences131
glossingSentenceCount4
matches
0"as if listening to someone standing just behind Rory’s shoulder"
1"seemed farther away than it had a moment ago, though she could not have said how"
2"seemed much farther away than before, their trunks stretched thin and tall, all of them bent towards the bowl of earth"
3"something like alarm crossed that dead face"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.914
wordCount2189
matches
0"not bleeding, not breaking, but losing definition, as if the grove had forgotten how to hold"
1"not breaking, but losing definition, as if the grove had forgotten how to hold"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences244
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs135
mean16.21
std18.17
cv1.121
sampleLengths
016
138
26
37
477
56
64
71
821
954
106
119
1213
131
1493
1538
1614
1710
185
1942
201
215
2218
2329
246
255
2610
273
2838
2911
3066
316
323
337
3428
3526
363
377
3812
3929
401
419
4264
4323
446
454
466
477
482
492
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences228
matches
0"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs335
matches
0"was standing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences244
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount334
adjectiveStacks0
stackExamples(empty)
adverbCount13
adverbRatio0.038922155688622756
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences244
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences244
mean8.97
std7.62
cv0.849
sampleLengths
016
113
225
36
47
512
628
712
825
96
104
111
128
1313
146
152
162
1716
183
1925
202
212
222
239
2411
252
261
279
2810
2910
3027
3115
3222
3338
3414
3510
365
3713
3829
391
405
4118
423
434
4417
455
463
473
485
4910
41.80% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats20
diversityRatio0.27049180327868855
totalSentences244
uniqueOpeners66
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences192
matches
0"Just thicker, the way a"
1"More like a branch tapping"
2"Even the leaves seemed to"
3"Then the tapping came again,"
4"Then it flashed again, low"
5"Then, from behind her, a"
ratio0.031
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount51
totalSentences192
matches
0"She froze with her hand"
1"She looked over her shoulder"
2"She wrapped her palm around"
3"Her shoulders tightened."
4"She thumbed the screen off"
5"Her voice came out flatter"
6"She knew better than to"
7"It had rules, and those"
8"She had come because the"
9"It lifted its head, and"
10"It stared, ears pricked, then"
11"Her stomach tightened."
12"She did not turn."
13"She watched the animal’s gaze"
14"Its mouth opened a fraction."
15"She whipped round on the"
16"She swallowed, slow and deliberate,"
17"She crouched and reached for"
18"She brushed a thumb over"
19"She searched the dark between"
ratio0.266
51.15% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount157
totalSentences192
matches
0"Rory’s boot sank into wet"
1"She froze with her hand"
2"The Heartstone Pendant sat against"
3"The clearing held its breath"
4"Wildflowers crowded the ground in"
5"Rory shifted her weight and"
6"She looked over her shoulder"
7"The entrance had gone."
8"The pendant pulsed once, as"
9"She wrapped her palm around"
10"The air changed with each"
11"Her shoulders tightened."
12"A small crescent scar on"
13"She thumbed the screen off"
14"Her voice came out flatter"
15"She knew better than to"
16"The grove never behaved like"
17"It had rules, and those"
18"She had come because the"
19"Yu-Fei had told her to"
ratio0.818
52.08% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences192
matches
0"Now she stood inside it"
1"Because the grove had begun"
ratio0.01
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences81
technicalSentenceCount4
matches
0"Wildflowers crowded the ground in bright, impossible patches, white and blue and bruised purple, all of them too fresh for a place that felt half-buried in the …"
1"It stared, ears pricked, then tilted its head as if listening to someone standing just behind Rory’s shoulder."
2"Something inside it clicked, slow and dry, as though a dozen small teeth had rubbed together."
3"Rory stumbled, hands over her ears, and saw the tall shape fold in on itself, not bleeding, not breaking, but losing definition, as if the grove had forgotten h…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags13
uselessAdditionCount0
matches(empty)
42.86% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags11
fancyCount3
fancyTags
0"she muttered (mutter)"
1"she spat (spit)"
2"she breathed (breathe)"
dialogueSentences28
tagDensity0.393
leniency0.786
rawRatio0.273
effectiveRatio0.214
89.7986%