Run: 2026-03-18-01KM0AQY1TB8S0JTBVFTJ34V5W

Run Details

Duration:
22.4s
Cost:
$0.020006
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Mystery 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="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <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> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</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 mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. 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
Quinn crouched beside the body bag and pinched the zip between two fingers. “Who touched him?” A uniformed constable glanced up from the platform tiles. “No one, Detective. We waited for you.” “Good.” She drew the zip half a handspan and stopped. The dead man’s face stared out in a waxy strip of light, one eye open, one eye filmed over, his lips pressed back against his teeth as if something had leaned too close and surprised him. Quinn let the zip fall back into place and looked at the station around them instead. The platform sat under Camden like a wound nobody had bothered to sew shut. Old tiles clung to the walls in sickly bands of cream and green, the station name plates had been stripped years ago, and the tunnel mouths gaped beyond the tape with black, wet patience. On the far side of the platform, a line of pop-up stalls stood abandoned in the half-dark, their cloth awnings slumped over tables packed with jarred powders, candle stubs, and cracked glass charms. Most of it looked as if the sellers had fled in a hurry. One brass scale still rocked on its chain, tick-tock, tick-tock, its pans knocking softly together. Detective Quinn stood. Her worn leather watch sat snug against her left wrist, the strap dark with age and use. She wiped her fingers on her coat and turned towards the platform edge. A man in a suit stood near the yellow line, hands on hips, looking affronted by the whole station. Detective Inspector Sloane, Metropolitan Police, broad-shouldered and grey at the temples, with a face built for reports and refusals. He had the stance of a man who liked facts in neat rows. “He was found here,” Sloane said. “No signs of a break-in. No alarm. No witnesses who’ll stay put long enough to be useful. The market traders are all singing the same tune, frightened, not helpful. Smells like a robbery gone sour.” Quinn lifted her gaze to the corpse, then to the tiles around it. “You missed the cleaner line.” Sloane frowned. “The what?” She pointed. “Dust on the platform. See it?” He looked, then followed her finger. A pale swathe of grime ran along the edge of the platform, interrupted by a clean crescent where the body bag now rested. The rest of the dust lay untouched, a soft grey skin over years of neglect. “He was dragged,” Sloane said. “Or fell.” “Dragged from where?” “The tunnel. Someone panicked, pulled him up, left him here.” Quinn stepped over the tape. “Then show me the scuffs.” She knelt and ran a gloved fingertip over the tiles. A smear. Not a boot mark, not even close. A long, shallow groove like something blunt had slid across the floor, heavy enough to scrape the glaze without breaking it. “Maintenance trolley, perhaps,” Sloane said. “On a platform with no current line access?” He held her stare. “You’ve got an answer already.” “I’ve got a question.” She moved past him before he could answer, following the groove towards the nearest stall. A stack of cardboard boxes sat there, marked with chalk symbols she did not recognise. Above them, someone had taped a handwritten sign to a post. SALT, CANDLES, LIMINAL OIL, BONES BY REQUEST. Quinn snorted once through her nose. “Charming.” Sloane gave the sign a glance and looked away. “The market’s full of oddities. Doesn’t make them homicide.” “No.” She crouched beside the boxes. “It makes them clues.” She pulled on a glove, lifted the top box flap, and found shredded tissue paper, a few glass vials, and a streak of black powder along the bottom seam. Not cocaine. Not soot either. The grains clung to the cardboard in a fine metallic sheen. Quinn touched the powder, then rubbed her thumb and forefinger together. Bitter, cold, faintly coppery. “Who called this in?” she asked. “Security from Camden. One of their private contractors found the body after the market shut down. He claims he heard shouting down here, then silence. By the time he reached the platform, everyone had gone.” “Everyone?” “The stalls were occupied when he arrived. They were empty when we got here.” Quinn straightened and turned a slow circle. The station held too much absence. No footsteps in the grime behind the stalls. No dropped bags, no scattered stock, no overturned chairs. People had left in a hurry, yet the platform looked staged, as if someone had cleared a path through the panic and left the props standing. Her gaze snagged on the dead man’s hand. A small circle of bone sat in his curled fingers. Not a coin. A token. White, smooth, drilled through the centre with a black cord threaded through it. The cord had snapped, the frayed end tucked into his palm. Quinn held out her hand. The paramedic hovering near the body bag opened his mouth, then passed her an evidence tray. She eased the token free and laid it in the tray. Sloane watched her. “What is it?” “Entry.” “Entry to what?” She glanced up at the stalled market, at the dead sign, at the tunnel mouth beyond it. “Something that doesn’t like police.” The paramedic cleared his throat. “Detective, there’s another thing.” Quinn looked at him. He swallowed. “No blood. Not much, anyway. The wound’s in his throat, but the floor’s clean. Too clean. And his lungs have water in them.” Sloane crossed his arms. “He was thrown near the tracks, inhaled rainwater through a tunnel breach. That happens.” Quinn gave him a flat look. “You heard yourself?” He ignored that. “What do you see?” She turned to the corpse. The dead man wore a charcoal coat with the collar turned up, the sort favoured by brokers and dealers who wanted to look respectable while doing filthy business. His fingers had wax under the nails, and verdigris stained the skin beneath one hand, a green crust that had sunk into the creases of his knuckles. On his throat, the cut did not gape. It lay narrow and precise, as if made by a blade with a serrated edge, then sealed around the rim with a dark crust. Quinn leaned closer. Not a blade. Something had bitten him. She went still. Sloane saw the change and frowned. “Well?” She looked past the body, past the stalls, to the tiled wall behind the far end of the platform. A poster frame hung there, its glass cracked but intact. The advertisement beneath it had curled with damp until only a strip remained, showing the outline of a woman’s gloved hand holding a perfume bottle. Beneath that, the plaster bulged by a fraction, a convex shimmer where the tiles should have sat flat. Quinn rose and walked to it. Sloane followed. “There’s nothing there.” “Stand back.” He did not move. “Quinn.” She put a hand against the poster frame. Cold met her glove. Not station cold. Deeper. Old stone cold, the sort that lived in cellars and crypts and places with names people stopped using. Her satchel strap had snagged under her coat, and with a quick tug she pulled out the brass compass she had not meant to show him yet. The casing sat in her palm, small and heavy, green with verdigris. Protective sigils covered the face. The needle twitched before she even opened it, then spun once, twice, and settled with a hard jerk towards the wall. Sloane’s mouth tightened. “That from a toy shop?” “Don’t insult the craftsmanship.” He looked at the compass, then at her. “You expect me to file that under evidence?” “You’ll file what I tell you to file.” His jaw shifted. “You’ve spent too long with that museum woman and her ghost stories.” Quinn’s eyes flicked to him. “Eva Kowalski knows more about dead languages than your lab knows about common sense. That should worry you.” The compass needle rattled again, a fine metallic tremor. Quinn pressed her ear to the wall. At first she heard only the hum of old pipes and the distant murmur from the station entrance. Then came a faint tapping from the other side of the tiles. Three knocks. A pause. Three more. Not random. Rhythmic. Sloane saw her expression and moved in. “What?” “Listen.” He bent, one hand braced against the frame. The tapping came again, and this time the wall gave a soft answering thud, as if something beyond it had shifted its weight. Sloane stepped back. “There’s a void behind it.” “There’s a passage.” “A sealed service tunnel.” Quinn shook her head and brushed a thumb over the compass face. “No. The needle won’t sit still for a tunnel. It wants a rift.” He gave a short laugh with no humour in it. “You’re telling me this is a doorway.” “I’m telling you someone opened one.” The paramedic had gone pale. “Detective, that’s not possible.” Quinn glanced over her shoulder at him. “Neither is what’s on the floor.” She walked back to the body and crouched again. The throat wound drew her eye a second time. She peeled back the collar with two fingers. A row of punctures marked the skin beneath the cut. Not one bite. Several. Small, evenly spaced, too neat for any animal she knew. The skin around them had darkened in a circular pattern, as if the blood had been pulled outward and then forced back in. On the dead man’s sternum, barely visible beneath the shirt, someone had inked a symbol in thin black lines. Not a cult circle, not a gang mark. A map mark. Quinn stood so fast the tray knocked against the floor. Sloane caught it before it slid under the bench. “What now?” She looked at the boxes, the chalk marks, the stalls, the dead man’s token, the compass still pointing at the wall. “He wasn’t killed here.” Sloane folded his arms. “You’ve decided that from a scratched tile and a fancy trinket.” “He was killed somewhere with water under the floor.” “The tunnel breach.” “No.” Quinn pointed to the ink on the corpse’s chest. “This mark is for a place, not a person. Traders use it to show route changes. That symbol means a chamber with a north drain and a false wall. It’s a marker for movement.” Sloane’s expression hardened. “You read that from where?” “Oxford would call it an inscription. London would call it a habit.” He said nothing. Quinn stepped to the nearest stall and lifted one of the cloth awnings. Beneath it sat a ring of salt on the table, broken at one point by a line of wet earth. In the centre, a candle stub had burned low and died in a puddle of black wax. Someone had placed three coins around it, then removed one. “The dealer knew he was coming,” she said. Sloane’s eyes narrowed. “The victim?” “The person who killed him.” He walked to her side, studied the salt, the wax, the broken ring. “Or the victim arranged protection and got jumped before it worked.” “Protection from what?” He did not answer. Quinn glanced at the tunnel mouth. The compass needle jerked hard enough to quiver in her palm, then snapped sideways and held there, pointing not at the wall, but at the black gap beyond the platform where the track should have run. A sound came from the tunnel. Not footsteps. Not voices. A scraping, wet and slow, like metal being dragged over stone from very far away. The paramedic backed towards the tape. “I don’t like that.” “No one asked you to.” Quinn moved to the tunnel edge and crouched, one hand on the platform lip. The dark beyond held no train line now, only a service trench with water pooled in the grooves. Something pale floated in it for one sick second, then rolled under. Sloane came up beside her and followed her stare. “Tell me that was debris.” Quinn’s mouth tightened. “If it was debris, it had teeth.” The scraping came again, closer this time. A low knocking answered it from behind the wall, three, then three, then a hurried burst that rattled the tiles around the poster frame. Dust fell in a fine grey curtain. Sloane reached for his radio. “All units, hold positions, no one enters the tunnel, repeat, no one enters the tunnel.” Quinn watched the poster frame. The cracked glass had begun to fog from behind. Not steam. Breath. A shape pressed against it, broad at the shoulders, too tall for the narrow space behind the wall. Fingers spread across the glass, long and narrow, and the frame bowed outward with a sharp squeal of metal. The compass needle snapped towards the poster with a vicious click. Then the glass burst inward, and something dragged itself through with a sound like wet cloth tearing.
created_at"2026-03-18T11:19:23.475Z" 3/18/2026, 11:19:23 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency8052
moderation_latency(null)
generation_time22177
tokens_prompt4671
tokens_completion3502
native_tokens_prompt4157
native_tokens_completion4329
native_tokens_completion_images0
native_tokens_reasoning1552
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"
usage0.02000625
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_0c5bc6f3110820720169ba8a3b98a48195910077dd30abc9ab"
is_byokfalse
latency244
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-1773832763-222kKyWBaXzZW0Im6bm2"
upstream_id"resp_0c5bc6f3110820720169ba8a3b98a48195910077dd30abc9ab"
total_cost0.02000625
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
totalTags7
adverbTagCount0
adverbTags(empty)
dialogueSentences73
tagDensity0.096
leniency0.192
rawRatio0
effectiveRatio0
95.31% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2133
totalAiIsmAdverbs2
found
0
adverb"softly"
count1
1
adverb"very"
count1
highlights
0"softly"
1"very"
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)
85.94% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2133
totalAiIsms6
found
0
word"silence"
count1
1
word"footsteps"
count2
2
word"flicked"
count1
3
word"rhythmic"
count1
4
word"weight"
count1
highlights
0"silence"
1"footsteps"
2"flicked"
3"rhythmic"
4"weight"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences164
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences164
filterMatches
0"watch"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences230
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2133
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
76.92% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions47
wordCount1642
uniqueNames6
maxNameDensity1.46
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Quinn"
discoveredNames
Camden1
Quinn24
Inspector1
Sloane19
Metropolitan1
Police1
persons
0"Camden"
1"Quinn"
2"Sloane"
places(empty)
globalScore0.769
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences104
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.469
wordCount2133
matches
0"not at the wall, but at the black gap beyond the platform"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences230
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs124
mean17.2
std19.01
cv1.105
sampleLengths
013
13
216
31
461
5109
633
751
841
913
105
114
128
1344
147
153
1610
1710
1840
195
208
219
224
2341
247
257
2618
2710
2845
2915
306
3135
321
3314
3456
358
3639
3732
386
391
403
4117
425
439
444
4525
4618
479
487
4992
98.84% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences164
matches
0"been stripped"
1"been pulled"
2"being dragged"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs262
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences230
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1647
adjectiveStacks0
stackExamples(empty)
adverbCount54
adverbRatio0.03278688524590164
lyAdverbCount8
lyAdverbRatio0.004857316332726169
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences230
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences230
mean9.27
std7.78
cv0.838
sampleLengths
013
13
29
37
41
59
636
716
814
934
1033
1113
1215
133
1417
1513
1619
1719
1813
196
2035
2113
225
232
242
252
266
276
2823
2915
305
312
323
3310
345
355
3610
372
387
3921
405
418
424
435
444
4515
4615
4711
487
496
46.52% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.27391304347826084
totalSentences230
uniqueOpeners63
47.28% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences141
matches
0"Then came a faint tapping"
1"Then the glass burst inward,"
ratio0.014
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount32
totalSentences141
matches
0"She drew the zip half"
1"Her worn leather watch sat"
2"She wiped her fingers on"
3"He had the stance of"
4"He looked, then followed her"
5"She knelt and ran a"
6"He held her stare."
7"She moved past him before"
8"She crouched beside the boxes"
9"She pulled on a glove,"
10"Her gaze snagged on the"
11"She eased the token free"
12"She glanced up at the"
13"He ignored that."
14"She turned to the corpse."
15"His fingers had wax under"
16"It lay narrow and precise,"
17"She went still."
18"She looked past the body,"
19"He did not move."
ratio0.227
59.29% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount113
totalSentences141
matches
0"Quinn crouched beside the body"
1"A uniformed constable glanced up"
2"She drew the zip half"
3"The dead man’s face stared"
4"Quinn let the zip fall"
5"The platform sat under Camden"
6"Detective Quinn stood."
7"Her worn leather watch sat"
8"She wiped her fingers on"
9"A man in a suit"
10"Detective Inspector Sloane, Metropolitan Police,"
11"He had the stance of"
12"Quinn lifted her gaze to"
13"He looked, then followed her"
14"A pale swathe of grime"
15"The rest of the dust"
16"Quinn stepped over the tape."
17"She knelt and ran a"
18"A long, shallow groove like"
19"He held her stare."
ratio0.801
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences141
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences68
technicalSentenceCount4
matches
0"The dead man’s face stared out in a waxy strip of light, one eye open, one eye filmed over, his lips pressed back against his teeth as if something had leaned t…"
1"The dead man wore a charcoal coat with the collar turned up, the sort favoured by brokers and dealers who wanted to look respectable while doing filthy business…"
2"His fingers had wax under the nails, and verdigris stained the skin beneath one hand, a green crust that had sunk into the creases of his knuckles."
3"The tapping came again, and this time the wall gave a soft answering thud, as if something beyond it had shifted its weight."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags7
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount0
fancyTags(empty)
dialogueSentences73
tagDensity0.068
leniency0.137
rawRatio0
effectiveRatio0
90.3368%