Run: 2026-03-18-01KM0A3KKPZZPE3GKQ93WD4VWZ

Run Details

Duration:
16.1s
Cost:
$0.003801
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
The green neon sign above the entrance blinked like it couldn’t decide whether it wanted to warn her or welcome her in, but Aurora Carter shoved the door open anyway and the noise hit first, a wall of low music and laughter that sounded forced in the corners. A glass shattered behind the bar. Not a spill. Not an accident. The sharp, clean crack came with the thud of something heavy against wood, and a man’s voice cut through it, controlled and too calm. “Down. Now.” Aurora froze with one foot still on the threshold, her delivery bag knocking once against her thigh. The bar smelled of citrus cleaner over stale beer, and underneath that, something metallic, like coins kept too long in a fist. Silas Blackwood stood near the taps with his right hand raised. His silver signet ring caught the dim light, flashing pale whenever he moved, and his hazel eyes tracked the room like a searchlight. Two patrons had gone rigid, shoulders high as if they’d been yanked by strings. One of them held a half-empty tumbler, his fingers trembling around it. Aurora recognised the way people stopped breathing when Silas looked at them. She’d seen it once before, years ago, back when she’d thought “intelligence” meant paperwork and headlines, not the way a body became a threat the second it realised it might be watched. Silas’s gaze flicked to her. Just once. A silent assessment, quick as a finger snapping a lock. Then he exhaled through his nose, not relief exactly, more like irritation that reality kept interrupting him. “Aurora,” he said, and the name came out like a familiarity he hadn’t given permission to. “You still pick the wrong night for punctuality.” Aurora set the delivery bag down carefully, the way you handled something that might detonate. “I didn’t know you were open to visits from ghosts.” Silas stepped away from the taps. The limp in his left leg slowed him by a fraction, but the authority didn’t wobble. His grey-streaked auburn beard was neatly trimmed, his posture too straight for any man who ran a bar for a living. “Come here,” he said. “Out of the blast radius.” A patron nearest the door shifted, and Aurora felt it before she saw it, the tension tightening like a noose. She turned her head slightly and caught sight of a figure slipping from the shadow near the pool table. Too smooth. Too quiet. The kind of quiet that listened. Silas saw her look and followed it with a glance that didn’t change his expression. “Rory,” he corrected, softening nothing. “Don’t stare at him like he’s a problem you can solve with the right argument.” Aurora swallowed. Her bright blue eyes didn’t soften; they narrowed, measuring. “Then what is he?” Silas’s fingers tightened on the edge of the bar, knuckles whitening under the lamplight. “Someone sent to ask questions I don’t answer.” The back room door, a bookshelf disguised as a wall, clicked faintly. Not open. Not yet. But the mechanism shifted all the same, the smallest movement that told Aurora the room had heard them. The man near the pool table took one step forward, hand dipping into his jacket. Aurora didn’t wait for Silas to decide whether to act. She moved fast, more delivery-gig reflex than fighter instincts, and she grabbed the nearest empty tumbler from the bar. The glass lifted like a weapon, and she hurled it. It struck the man’s wrist with a hollow crack. A curse burst out, high and angry, and his hand flinched away from the jacket as if the touch of the glass had burned. Silas’s mouth twitched, approval hidden under irritation. “You still throw better than you talk.” “I talk fine,” Aurora snapped, then regretted it when the man’s eyes went wide and he realised the bar had turned into something other than a bar. He looked past Aurora, searching for a way out. Silas reached into the waistband behind the taps and withdrew a small gun. He didn’t flourish it. He held it like a tool, steady. “Sit.” The man swallowed. “I’m not with them.” Silas’s eyebrows rose. “Then you’re with the wrong crowd.” Aurora’s scar itched on her left wrist, the crescent mark from a childhood accident, a phantom reminder of skin that had once split too easily. She flexed her fingers once, feeling the sting of old memory, and tried not to let her breathing give her away. “I’m not with them either,” she said, and hated how careful it sounded. Silas looked at her as if he’d expected that exact phrasing. “That’s the problem with not being with them, Aurora. You still get caught in the mess.” The patrons stood frozen, unsure whether to leave. The bartender behind Silas, a broad-shouldered man Aurora had never seen before, moved one step closer and then stopped, taking cues from the gun that stayed pointed low, where it promised control without theatrics. Aurora pulled her delivery bag strap over her shoulder and kept her hands visible. “I came for my shift. I had food left to drop.” “Your shift,” Silas repeated, testing the words. “At Golden Empress.” Aurora blinked once, and she felt the years click into place like tiles settling after a quake. “You know where I work.” Silas lowered the gun a fraction and turned it so the muzzle angled safely at the floor. “I know where everyone ends up when they run far enough. London has a short memory, but I don’t.” Aurora’s throat tightened. “Why do you care?” That was too raw, too direct. She heard it as soon as she said it, like a dropped plate. Silas didn’t pounce on the weakness. He only studied her face, the way a man reads a map that keeps changing. His hazel eyes caught her bright blue stare and lingered on her black hair, straight and shoulder length, the same as before, but the way she held herself had changed. She stood with a steadier spine. Her shoulders didn’t hunch to apologise. Her mouth didn’t flinch away from hard truths. She’d thought time would flatten her. It hadn’t. It had honed her. “Because,” Silas said, and the word carried history heavy enough to sink. He tipped his head slightly towards the bar’s entrance, towards the room beyond. “Because you were never supposed to disappear.” Aurora made herself laugh once, short and bitter. “Disappearing was the plan. You’d know that if you were any good at mind-reading.” Silas’s gaze flicked to the bookshelf door. Click. Another tiny shift. Something inside moved, or someone placed a hand where they shouldn’t. A second man stepped out of the shadows, different from the first. This one wore an unremarkable coat that fit too well, the kind of fit that came from money or desperation. He carried no visible weapon, but his hands stayed near his pockets in a way that meant he didn’t need one. He looked at Silas’s gun, then at Aurora’s face, and his expression tightened with recognition that didn’t belong. “Carter,” the man said. “So you’re real.” Aurora’s stomach dropped. “Who are you?” The man smiled without humour. “Names cost. But you remember the ones that mattered.” Silas’s lips tightened. “Enough.” The second man didn’t move his eyes from Aurora. “You’re late, Rory. That’s what you do. You run, you delay, you think you can outrun whatever you owe.” Silas’s signet ring caught the light again as he lifted his hand, palm open, as if commanding the air. “You chose the wrong bar. Get out.” The man laughed softly, then turned his attention to Silas. “You still play spymaster?” Silas didn’t blink. “I still own the room.” The man’s hand disappeared into his coat pocket. Not hurried. Not frightened. The confidence of someone who expected the universe to comply. Aurora stepped in before Silas could react, moving so the line of sight tightened. Her delivery bag sat uselessly at her feet, still holding containers that could get cold. She reached for the bar’s drawer where the bar tools sat, grabbed a bottle opener, and felt how light it was against her palm. She didn’t want a fight. She wanted the truth. But the truth had never cared about what she wanted. The pocket came out with a phone, not a weapon. It lit up in the dim bar like a signal flare, and the man held it up to Aurora’s face. A photo filled the screen. Not an old school picture. Not a candid. A document shot, blurry at the edges, but clear enough in the centre. Her crescent-shaped scar on her left wrist sat in the same place. A timestamp in the corner placed it somewhere that shouldn’t exist, somewhere Aurora had never been photographed. Aurora stared. Silas watched her stare and saw the colour drain from her face. “What is that,” he said, voice low, threat threaded into every syllable. The second man lowered the phone slightly, like he enjoyed the power of making someone flinch. “A breadcrumb. For the girl who thinks she outruns her past.” Aurora forced herself to speak. “I’ve never shown anyone that scar.” Silas’s gun moved, a quiet adjustment. “No one asked you to show anything.” The second man’s smile returned, slimmer now. “Not out loud.” From behind them, the bookshelf door slid open with a soft scrape, and cold air breathed across the back of Aurora’s neck. The kind of cold that meant there had been people waiting. A third figure emerged from the secret room, not a patron, not a staff member. This person moved like someone who’d practised standing in doorways. Dark suit. Hair slicked back. Hands empty, but empty hands still held intent. They glanced at Silas’s gun and didn’t care. Their eyes went straight to Aurora, bright blue eyes catching on the crescent scar like a lock catching a key. “Rory Carter,” the third figure said. “We have a question for you.” Silas’s voice cut through. “You have questions for the police.” The third figure tilted their head. “We don’t like the police.” Aurora felt her body decide things without asking. Her feet shifted, edging closer to the bookshelf door in case she needed a path that wasn’t the front exit. Silas stepped sideways, blocking her view, keeping the gun between Aurora and the newcomers. “You’re making a mistake,” he told them. The third figure smiled. “You made one first.” Aurora’s mouth went dry. She tried to remember where she’d last seen a face like that, and the memory wouldn’t come clean, only fragments, the kind you got when someone stole time from you. Her brain scrabbled, found nothing solid. Then the second man raised his phone again, thumb hovering above a button. “Send,” he said to the third figure. “Now.” Silas’s signet ring flashed as he moved fast, fast enough that Aurora barely registered the shift. He slammed the drawer behind the bar shut, reached for something beneath it, and jerked his chin towards Aurora. “Rory,” he said, and the name sounded like a command from years ago. “Back. Bookshelf. Now.” Aurora didn’t ask what “now” meant. She kicked the delivery bag up with her boot, letting it drop with a dull clatter, grabbed the edge of the bookshelf door, and pushed. The secret room opened like a wound, narrow and dim, with paperwork stacks and a faint smell of tobacco and old paper. She ducked inside, her shoulder scraping the frame. Behind her, Silas shouted something in a low, sharp tone. The word cut through the bar noise and turned it into a distant nuisance. Footsteps thundered in the main room. Glass shattered again, closer this time. Aurora stumbled one step deeper into the secret space and caught her breath on the stale air. A voice from outside, muffled through the bookshelf, struck like a hammer through thin walls. “On your left,” the voice said, calm as if directing someone to a seat. “She’s in there.” Aurora’s heart kicked against her ribs. She didn’t move away from the opening. She kept her hand on the shelf edge, ready to yank it shut if they tried to follow. A shadow crossed the crack at the top of the bookshelf door, and the light from the bar skated across the floorboards. Silas’s voice followed, strained now, the first real crack in his control. “Don’t you dare.” There was a metallic click, unmistakable. A gun’s safety came off. And then the bookshelf door began to bow inward from the outside, as someone pushed with force.
created_at"2026-03-18T11:08:17.422Z" 3/18/2026, 11:08:17 AM
model"openai/gpt-5.4-nano-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2031
moderation_latency(null)
generation_time15699
tokens_prompt4618
tokens_completion3302
native_tokens_prompt4131
native_tokens_completion2933
native_tokens_completion_images0
native_tokens_reasoning212
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"
usage0.00380125
router(null)
provider_responses
0
endpoint_id"0c835f2e-c18d-4e8c-b245-e1e3bd08b97f"
id"resp_09d8e5363dca6e750169ba87a17cc08196a33433b7feb33d39"
is_byokfalse
latency192
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-1773832097-Jak2THtC1DpWWAfm23b2"
upstream_id"resp_09d8e5363dca6e750169ba87a17cc08196a33433b7feb33d39"
total_cost0.00380125
cache_discount0.0006912
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags16
adverbTagCount0
adverbTags(empty)
dialogueSentences55
tagDensity0.291
leniency0.582
rawRatio0
effectiveRatio0
88.04% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2090
totalAiIsmAdverbs5
found
0
adverb"carefully"
count1
1
adverb"slightly"
count3
2
adverb"softly"
count1
highlights
0"carefully"
1"slightly"
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)
78.47% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2090
totalAiIsms9
found
0
word"shattered"
count2
1
word"flicked"
count2
2
word"tension"
count1
3
word"reminder"
count1
4
word"stomach"
count1
5
word"footsteps"
count1
6
word"thundered"
count1
highlights
0"shattered"
1"flicked"
2"tension"
3"reminder"
4"stomach"
5"footsteps"
6"thundered"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"stomach dropped/sank"
count1
highlights
0"stomach dropped"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences161
matches(empty)
98.49% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount3
narrationSentences161
filterMatches
0"look"
1"decide"
hedgeMatches
0"tried to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences200
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen48
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2090
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions18
unquotedAttributions1
matches
0"Behind her, Silas shouted something in a low, sharp tone."
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions67
wordCount1800
uniqueNames4
maxNameDensity1.89
worstName"Aurora"
maxWindowNameDensity3.5
worstWindowName"Aurora"
discoveredNames
Aurora34
Carter1
Blackwood1
Silas31
persons
0"Aurora"
1"Carter"
2"Blackwood"
3"Silas"
places(empty)
globalScore0.556
windowScore0.5
86.44% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences118
glossingSentenceCount3
matches
0"as if commanding the air"
1"sounded like a command from years ago"
2"as if directing someone to a seat"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2090
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences200
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs94
mean22.23
std13.64
cv0.613
sampleLengths
048
16
230
32
439
534
626
744
817
917
1024
1125
1243
139
1449
1515
1620
1715
1822
1934
2015
2139
2233
2314
2436
2525
267
279
2846
2913
3027
3142
3225
3310
3422
3536
367
3719
3871
3912
4032
4122
4222
4353
4418
457
466
4714
484
4928
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences161
matches
0"been yanked"
1"been photographed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs324
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences200
ratio0.005
matches
0"Her bright blue eyes didn’t soften; they narrowed, measuring."
99.61% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1805
adjectiveStacks0
stackExamples(empty)
adverbCount73
adverbRatio0.04044321329639889
lyAdverbCount15
lyAdverbRatio0.008310249307479225
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences200
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences200
mean10.45
std7.44
cv0.712
sampleLengths
048
16
23
33
424
52
617
722
811
923
1014
1112
1212
1332
145
152
1610
1717
1816
198
2015
2110
226
2316
2421
254
265
2720
2819
292
302
316
3215
335
3415
352
369
374
3814
398
4012
412
422
4318
4415
4510
4619
4710
489
4924
43.50% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.29
totalSentences200
uniqueOpeners58
45.05% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences148
matches
0"Then he exhaled through his"
1"Then the second man raised"
ratio0.014
98.38% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount45
totalSentences148
matches
0"His silver signet ring caught"
1"She’d seen it once before,"
2"he said, and the name"
3"His grey-streaked auburn beard was"
4"She turned her head slightly"
5"he corrected, softening nothing"
6"Her bright blue eyes didn’t"
7"She moved fast, more delivery-gig"
8"It struck the man’s wrist"
9"He looked past Aurora, searching"
10"He didn’t flourish it."
11"He held it like a"
12"She flexed her fingers once,"
13"she said, and hated how"
14"She heard it as soon"
15"He only studied her face,"
16"His hazel eyes caught her"
17"She stood with a steadier"
18"Her shoulders didn’t hunch to"
19"Her mouth didn’t flinch away"
ratio0.304
7.30% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount134
totalSentences148
matches
0"The green neon sign above"
1"A glass shattered behind the"
2"The sharp, clean crack came"
3"Aurora froze with one foot"
4"The bar smelled of citrus"
5"Silas Blackwood stood near the"
6"His silver signet ring caught"
7"Aurora recognised the way people"
8"She’d seen it once before,"
9"Silas’s gaze flicked to her."
10"A silent assessment, quick as"
11"he said, and the name"
12"Aurora set the delivery bag"
13"Silas stepped away from the"
14"The limp in his left"
15"His grey-streaked auburn beard was"
16"A patron nearest the door"
17"She turned her head slightly"
18"The kind of quiet that"
19"Silas saw her look and"
ratio0.905
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences148
matches(empty)
ratio0
59.37% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences77
technicalSentenceCount9
matches
0"The green neon sign above the entrance blinked like it couldn’t decide whether it wanted to warn her or welcome her in, but Aurora Carter shoved the door open a…"
1"His grey-streaked auburn beard was neatly trimmed, his posture too straight for any man who ran a bar for a living."
2"Silas saw her look and followed it with a glance that didn’t change his expression."
3"Aurora’s scar itched on her left wrist, the crescent mark from a childhood accident, a phantom reminder of skin that had once split too easily."
4"The bartender behind Silas, a broad-shouldered man Aurora had never seen before, moved one step closer and then stopped, taking cues from the gun that stayed po…"
5"He looked at Silas’s gun, then at Aurora’s face, and his expression tightened with recognition that didn’t belong."
6"Silas’s signet ring caught the light again as he lifted his hand, palm open, as if commanding the air."
7"Her delivery bag sat uselessly at her feet, still holding containers that could get cold."
8"Silas stepped sideways, blocking her view, keeping the gun between Aurora and the newcomers."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags16
uselessAdditionCount4
matches
0"he said, and the name came out like a familiarity he hadn’t given permission to"
1"Silas said, and the word carried history heavy enough to sink"
2"he said, voice low, threat threaded into every syllable"
3"he said, and the name sounded like a command from years ago"
95.45% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags14
fancyCount3
fancyTags
0"he corrected (correct)"
1"Aurora snapped (snap)"
2"Silas repeated (repeat)"
dialogueSentences55
tagDensity0.255
leniency0.509
rawRatio0.214
effectiveRatio0.109
81.6699%