Run: 2026-03-18-01KM0AM24T0K20RAF1DJS1EFGH

Run Details

Duration:
14.6s
Cost:
$0.012018
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Thriller 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="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</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> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</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 thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. 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
“Stop!” The man in the soaked black coat slammed through a knot of pedestrians and sent a cyclist skidding into a red delivery van. Quinn hit the wet pavement hard enough to jar her teeth, pushed up on one hand, and saw his shoulder vanish round the corner. She surged to her feet, boots slipping on the shine of the street, and drove after him. A kebab shop bled garlic and grease into the air. A shuttered chemist flashed past with graffiti clawing over the glass. The suspect cut between a taxi and a lamplit bus shelter, head down, one hand buried in his pocket as if he carried something small and precious and worth blood. Quinn caught a flash of his face, narrow and pale, panic tightening every line of it. Not a mugger. Not a drunk. A man on a mission. “Met Police!” she barked at the crowd as she barreled through them. “Move!” A pair of students flattened themselves against a brick wall. One of them cursed her, the other stared after the fleeing man with wide, stunned eyes. Quinn ignored them and kept on. Her radio cracked against her shoulder. “Quinn? Quinn, report.” She snatched it up while running. “Suspect off Dean Street, heading south. White male, mid-thirties, black coat, no hat. He’s carrying something.” “Copy. Units are two minutes out.” Two minutes. Enough to lose him. Enough to let him vanish into one of Soho’s holes and seams, where bars sat on top of lies and lie-layers stretched all the way down to hell. The man darted across traffic at a blind gap and forced two cabs to brake and horn. Quinn lunged after him, palm brushing the bonnet of the nearest taxi as its driver leaned on the horn and shouted through the rain-spattered glass. She spared him one furious glance and kept moving. The suspect glanced back. That was his mistake. His eyes locked on hers, and something in his face changed. Fear sharpened into recognition, or the suggestion of it. He reached the end of the block, yanked open a narrow door beside a closed florist, and slipped inside. Quinn reached the doorway a second later and found only darkness, stale beer, and the trace of old wood polish. A staircase plunged down beneath the street, steep and narrow, with a brass handrail slick under her fingers. She heard him below, shoes hammering on stone. “Quinn!” She flicked her wrist and checked the message lighting her phone. Quinn ignored it, shoved the radio back in place, and took the stairs two at a time. The stairwell breathed old heat and damp plaster. By the time she hit the bottom, the noise changed. The city fell away above her, muffled by concrete and traffic, and another sound took over, a low churn of voices, metal, a distant bell, something that rang like cutlery in a glass. The suspect had gone through a set of heavy black curtains at the far end of a passage lined with cracked tile. A hand-painted sign on the wall read no entry in peeling red letters. Beneath it, someone had scratched symbols into the grout and filled them with silver paint. Quinn slowed for half a beat. The corridor smelled of incense and engine oil. A market. Underground. Unlisted. That alone turned her stomach. Soho had hidden rooms behind bookshelves, bars with false walls, clubs that never paid tax and never asked names. But this place sat deeper than all that, a place with rules that did not belong to her world. She pushed through the curtain. The market swallowed her. Stalls crowded the old Tube platform in crooked rows beneath a ceiling of blackened iron and old tiles. Lanterns made from glass jars hung at different heights, their light pooling over tables draped in faded velvet and waxcloth. Bone charms clicked against each other in the moving air. A woman with a shaved head and gold teeth weighed a tin box of black powder on brass scales. Two men in long coats argued over a glass case full of rings that seemed to pulse with a dull red glow. A child with a fox mask darted between shoppers carrying a tray of sealed vials. Quinn kept moving, hand near her holster, eyes scanning. Every face turned the same way. Not at her badge. At the suspect. He had cut left and vanished behind a stall hung with rabbit skins and old telephone receivers. Quinn pushed through a cluster of hooded buyers and caught sight of him again as he shoved a brass token at a woman in a grey scarf. She shook her head once, hard. He said something Quinn could not hear. The woman’s eyes flicked to Quinn, and the suspect used the moment to slip away down a side aisle lined with candle smoke and hanging herbs. “Get back,” Quinn snapped at a man who stepped into her path. He raised both hands. “Careful where you tread, detective.” His accent carried the clipped polish of old money and bad intentions. Quinn looked him over once, saw the clean cuffs under the coat, the ring on his little finger, the scar at his jaw. Dealer or fence. He wore the market like a club. “Move.” “Not if you keep that tone.” She shoved past him. He caught her elbow for a second and then let go as if she burned. Her fingers closed around her baton. The man smiled without warmth and stepped aside. The suspect reached a stall buried under hanging bones and hammered copper spoons. Quinn saw him hand over a coin-sized object wrapped in cloth. The stallholder unwrapped it with reverence, and the thing inside caught the lantern light with a faint blue glimmer. “Police!” The word cracked through the market. Heads turned. A tray clattered. Somewhere a woman hissed, “Idiot.” The suspect snatched the object back and bolted. Quinn pushed through a curtain of beads and chased him down a narrow lane between stalls. A puff of sweet smoke hit her face from a brazier. Her eyes watered. She blinked it away and saw him shove through another crowd, knocking a stack of enamel cups from a table. They smashed on the stone with a bright, nasty ring. He was heading for the far end of the platform, where the tunnel mouth had been sealed with a rusting gate and draped in black cloth. Quinn raised her voice. “You’re done. Drop it and get on the floor.” He looked over his shoulder, breath ragged, and gave her a grin that did not touch his eyes. “Not here, love.” He ducked under the cloth and disappeared into the dark beyond. Quinn stopped at the tunnel mouth. The air changed there. Cooler. Wet. It carried the smell of mould and old electricity. Rust climbed the iron gate. Someone had wired charms into the mesh, small knotted bundles of hair and thread tied with bits of bone. A soft tapping came from inside, like nails against tile. Behind her, the market held its breath. A woman with a shaved brow muttered, “Leave it.” Quinn turned. The woman stood by a stall of glass eyes and moth wings, her hands buried in the sleeves of a heavy coat. Her gaze slid from Quinn’s badge to the tunnel and back again. “Your business ends here.” “Who are you?” “Not your friend.” That made two of them. Quinn looked past her into the market. Faces had angled away, but they kept watching out of the corners of their eyes. The suspect had not just run here. He had come with purpose. He knew the place. He knew where to sell, where to hide, where to run when the street closed around him. Her radio hissed again. “Quinn, status. We’ve lost your signal.” She pressed the button. “I’ve got him underground. Send backup to Dean Street and check for a service access near Camden. This leads somewhere ugly.” A pause. “Underground where?” “Stand by.” She looked back to the tunnel. The darkness beyond the gate seemed to lean in her direction. A voice came from the lane behind her, calm and dry. “That entrance requires permission.” Quinn turned. A tall man stood beside a stall of boxed relics and old theatre masks. Clean shirt, dark coat, hands open and empty. He looked like the sort of man who never hurried because he expected the world to make room. His eyes moved once over her coat, then to her badge, then to the tunnel. “Permission from whom?” “From the market.” “That’s not a person.” “No,” he said. “That’s the problem.” A murmur stirred around them. Quinn saw the quick exchange of looks, the tightened mouths, the way one seller slid a knife from a sleeve and kept it hidden against a thigh. The suspect had vanished deeper into the tunnel. She could hear him somewhere below now, feet striking stairs or metal grating. “How far does it go?” The man’s mouth twitched. “Further than you’d like. Less than you need.” “Cute. Move aside.” He did not. “You’re a detective. You should know when a door wants to stay closed.” Quinn stepped closer. “I know when someone’s hiding behind a door and paying for the privilege.” His gaze sharpened. “Then you should also know the market does not forgive bad manners.” She heard a small, distinct click near her right boot. Her eyes dropped. A thin wire had been strung low across the entrance, almost invisible against the wet stone and shadow. Beyond it sat a copper bowl etched with runes, and inside the bowl a black liquid quivered as if it breathed. Her stomach tightened. “Trap?” “Insurance.” The tunnel groaned from below. Something heavy scraped against metal. Quinn’s hand moved to her baton, not her gun. Her gun would complicate things if this place reacted badly to iron and fire and bullets. She did not know the rules here, but she knew enough to dislike the look of the wire and the bowl. She crouched, careful, and saw a second line tied higher up, running into the wall. Trip it wrong and the whole entrance could ring like an alarm. The man in the black coat was already gone. The bastard had bought himself time. That left Quinn with a choice that came down to speed and instinct, and neither of those had ever asked permission. A shout erupted somewhere farther into the market. Then another. A stall crashed. Glass burst in a glittering spray. People shoved back from the tunnel as a shape lunged out of the dark behind Quinn, fast and low, carrying the smell of river mud and copper. She spun, baton out. The figure hit the light and she saw a face half-hidden under a hood, mouth open around a wet snarl, hands long and grey with nails like stained glass. It threw itself at her. Quinn swung hard and caught it across the jaw. Bone cracked. The thing staggered but did not go down. Its fingers raked her sleeve, ripping fabric, dragging cold across her wrist. She drove a boot into its knee and felt the joint buckle. “Now,” someone snapped behind her. The man from the stall was already moving the copper bowl aside with one clean motion. The wire slackened. “If you mean to survive your own curiosity, go.” The grey-handed thing lunged again. Quinn ducked under it, caught a glimpse of teeth like broken shell, and hit it with the baton a second time. It collapsed against the gate, twitching. The market erupted around them. Chairs scraped. A woman screamed. Footsteps pounded in every direction. Quinn grabbed the gate and yanked. It opened on a steep stair plunging into blackness. Cold air rushed up, carrying the stink of wet stone and something older, something animal and wrong. From below, the suspect shouted once. Then a second voice answered him, low and pleased, and the sound it made froze Quinn where she stood at the threshold. The man in the black coat had not run into empty tunnels. He had run straight into company.
created_at"2026-03-18T11:17:16.596Z" 3/18/2026, 11:17:16 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2378
moderation_latency(null)
generation_time14222
tokens_prompt4663
tokens_completion3186
native_tokens_prompt4132
native_tokens_completion2558
native_tokens_completion_images0
native_tokens_reasoning54
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"
usage0.012018
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_07c9a3f8288960500169ba89bcaa388196941135d7261c5fe9"
is_byokfalse
latency193
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-1773832636-NBmGF6MlQIQmiGm0TngS"
upstream_id"resp_07c9a3f8288960500169ba89bcaa388196941135d7261c5fe9"
total_cost0.012018
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
totalTags6
adverbTagCount0
adverbTags(empty)
dialogueSentences39
tagDensity0.154
leniency0.308
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2021
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)
70.31% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2021
totalAiIsms12
found
0
word"flicked"
count2
1
word"churn"
count1
2
word"stomach"
count2
3
word"velvet"
count1
4
word"pulse"
count1
5
word"scanning"
count1
6
word"warmth"
count1
7
word"etched"
count1
8
word"quivered"
count1
9
word"footsteps"
count1
highlights
0"flicked"
1"churn"
2"stomach"
3"velvet"
4"pulse"
5"scanning"
6"warmth"
7"etched"
8"quivered"
9"footsteps"
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
narrationSentences174
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences174
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences207
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen33
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2021
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions33
wordCount1836
uniqueNames3
maxNameDensity1.63
worstName"Quinn"
maxWindowNameDensity3
worstWindowName"Quinn"
discoveredNames
Soho2
Tube1
Quinn30
persons
0"Quinn"
places
0"Soho"
globalScore0.683
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences118
glossingSentenceCount2
matches
0"rings that seemed to pulse with a dull red glow"
1"looked like the sort of man who never hur"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2021
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences207
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs103
mean19.62
std21.67
cv1.105
sampleLengths
01
147
217
367
411
513
632
76
83
96
1016
116
1234
1351
144
154
1639
1746
181
1928
20101
216
2255
235
244
25104
269
276
287
2983
3012
319
3245
331
346
3533
3643
371
386
3918
4060
4126
4213
4318
443
4511
466
4749
487
499
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences174
matches
0"been sealed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs301
matches
0"was heading"
1"was already moving"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences207
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1842
adjectiveStacks0
stackExamples(empty)
adverbCount51
adverbRatio0.02768729641693811
lyAdverbCount2
lyAdverbRatio0.0010857763300760044
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences207
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences207
mean9.76
std7.27
cv0.744
sampleLengths
01
123
224
317
410
511
630
716
83
93
105
1112
121
1310
1416
156
166
173
186
1916
206
212
224
2328
2417
2525
269
274
284
2911
309
3119
3220
3318
348
351
3611
3717
388
3910
4033
4122
4213
4315
446
458
462
471
481
495
50.72% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.3333333333333333
totalSentences207
uniqueOpeners69
41.67% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences160
matches
0"Somewhere a woman hissed, The"
1"Then a second voice answered"
ratio0.013
92.50% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount51
totalSentences160
matches
0"She surged to her feet,"
1"she barked at the crowd"
2"Her radio cracked against her"
3"She snatched it up while"
4"She spared him one furious"
5"His eyes locked on hers,"
6"He reached the end of"
7"She heard him below, shoes"
8"She flicked her wrist and"
9"She pushed through the curtain."
10"He had cut left and"
11"She shook her head once,"
12"He said something Quinn could"
13"He raised both hands."
14"His accent carried the clipped"
15"He wore the market like"
16"She shoved past him."
17"He caught her elbow for"
18"Her fingers closed around her"
19"Her eyes watered."
ratio0.319
22.50% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount140
totalSentences160
matches
0"The man in the soaked"
1"Quinn hit the wet pavement"
2"She surged to her feet,"
3"A kebab shop bled garlic"
4"A shuttered chemist flashed past"
5"The suspect cut between a"
6"Quinn caught a flash of"
7"A man on a mission."
8"she barked at the crowd"
9"A pair of students flattened"
10"Quinn ignored them and kept"
11"Her radio cracked against her"
12"She snatched it up while"
13"The man darted across traffic"
14"Quinn lunged after him, palm"
15"She spared him one furious"
16"The suspect glanced back."
17"That was his mistake."
18"His eyes locked on hers,"
19"Fear sharpened into recognition, or"
ratio0.875
31.25% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences160
matches
0"By the time she hit"
ratio0.006
96.47% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences77
technicalSentenceCount5
matches
0"The suspect cut between a taxi and a lamplit bus shelter, head down, one hand buried in his pocket as if he carried something small and precious and worth blood…"
1"The city fell away above her, muffled by concrete and traffic, and another sound took over, a low churn of voices, metal, a distant bell, something that rang li…"
2"Two men in long coats argued over a glass case full of rings that seemed to pulse with a dull red glow."
3"He looked over his shoulder, breath ragged, and gave her a grin that did not touch his eyes."
4"Its fingers raked her sleeve, ripping fabric, dragging cold across her wrist."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags6
uselessAdditionCount0
matches(empty)
21.79% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount5
fancyTags
0"she barked (bark)"
1"Quinn snapped (snap)"
2"a woman hissed (hiss)"
3"brow muttered (mutter)"
4"someone snapped (snap)"
dialogueSentences39
tagDensity0.154
leniency0.308
rawRatio0.833
effectiveRatio0.256
86.4630%