Run: 2026-03-18-01KM0AT37FYV969NPNAV01NNGK

Run Details

Duration:
14.8s
Cost:
$0.011769
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Horror genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Rory froze with one hand on the oak standing stone and the other curled around the silver chain at her throat. Something moved in the clearing ahead, low among the wildflowers, too quick for a fox and too deliberate for wind. The dark shape vanished between the pale stems before she could fix it in her mind. “Brilliant,” she muttered, and her voice came back to her from the trees in a thin, late echo. She stepped fully inside the grove and let the gate behind her go. The brush of leaves closed over the path she had used to enter, and the world outside Richmond Park seemed to fold away with an ugly, neat finality. The air held the damp green smell of crushed stems and old bark. Moonlight, caught in gaps between branches, slicked the standing stones with silver and made the clearing look bruised. Her Heartstone Pendant warmed against her collarbone. Rory’s fingers went to it at once. The little crimson gem sat against her skin, faintly alive, pulsing once, twice, like a heartbeat with no body attached. “Don’t start that now,” she said. The pendant answered with another warm throb. She took a slow breath and kept moving. The grove always looked wrong if you stared too hard. Not in the obvious way, not cracked mirrors or blood on the grass. The wrongness hid in the balance of it. The wildflowers grew too thick, too healthy, all year round, their heads heavy with bloom despite the season. The oaks around the clearing bent inward in a loose ring, their roots knuckling through the earth like clenched fingers. Stone faces, half-erased by age, wore expressions that shifted when she blinked. Rory walked towards the centre and stopped beside the shallow dip in the earth where she had found the last trace of Hel magic three nights ago. Yu-Fei had called it a “weird little job”, then paid her in cash and spring rolls to deliver a sealed parcel to a cottage near the park. The parcel had never mattered. The man who had received it had asked about a pendant he had never seen. Then he had gone pale when Rory lifted her shirt collar and the Heartstone flashed red in the dark. He had swallowed hard, shut his door in her face, and by morning the cottage stood empty. So she had come back. The grove answered with a rustle. Rory turned. Nothing. Only flowers nodding in a breeze she could not feel. She crouched, fingers parting the stems. The ground here carried a different texture, firmer than the rest of the clearing, as if the earth beneath had been packed by hands long dead. Fine threads of silver light, almost invisible, ran between two roots and vanished under a stone the size of a suitcase. She touched the stone. Heat slid up her fingertips. Not warmth. Recognition. The pendant burned against her skin. Rory jerked her hand back and cursed under her breath. She clenched and unclenched her fist, then looked around the clearing with renewed patience. No one came through the trees. No lanterns swung. No footsteps snapped a twig. Still, she felt watched. Not from one direction. From all of them. “Right,” she said to the trees. “If there’s something here, it can stop lurking and be useful.” The birds had gone silent. That hit her harder than the sight of anything else. The grove had been full of small movements when she arrived, a flutter here, a dart there. Now the branches held still, their leaves polished black in the scattered light. Even the insects seemed to have taken themselves elsewhere. Rory straightened slowly and listened. Tick. A sound from somewhere above her left shoulder. She looked up. The nearest branch swayed, though no wind touched it. Tick. Another branch answered across the clearing. She let out a breath through her nose. “No.” The sound came again, not quite a clock, not quite nails on wood. Tick-tock. Tick-tock. It did not belong in a grove that sat half a step from the Fae realm, where time bent and slipped and forgot its own shape. It belonged in a sitting room. On a mantelpiece. Next to a vase of dead roses and a family photograph with faces scratched out. Rory’s gaze snapped to the stone at her feet. The silver threads beneath it had thickened. They glimmered, then vanished, then glimmered again, as if something beneath the earth had opened an eye and closed it. She knelt again, more carefully this time, and pressed her palm flat to the ground beside the stone. The soil held a faint tremor, so slight she might have imagined it. The pendant warmed, then pulsed hard enough that her teeth clicked. “Hello,” she whispered. The ground answered with a distant knock. Rory’s spine tightened. Another knock followed, then a dragging scrape, like something heavy shifting through tunnels made for hands rather than bodies. She stood so fast her knees cracked. For a moment, she saw it at the edge of the clearing, between two oaks, a pale suggestion of movement where no movement should have been. A figure, slender and bent, with arms too long for its body. She blinked. The shape was gone. Rory did not move. Her pulse thudded high in her throat, and she hated the hot, chemical edge of fear that rose with it. Fear made people sloppy. Fear made them run into mistakes. She had learned that from Evan, from London alleys, from nights when a raised voice meant more than volume and less than warning. “Alright,” she said, and kept her voice flat. “You’ve had your little joke.” Nothing. Then, from just behind her ear, a soft inhale. Rory spun and threw herself backwards, landing hard on the damp earth. Her shoulder struck a root. Pain flared bright and clean. She rolled and came up with both hands braced, eyes wild, staring at empty air where a face had almost been. Not empty. Not quite. The shape lingered there for one impossible beat, all suggestion and outline, as if the grove had briefly remembered how to make a person and then forgotten again. A narrow mouth opened in a face that had no proper depth. It smiled. Rory scrambled to her feet. The thing retreated without walking, sliding back into the shadows between the stones. Its outline broke apart when it crossed the silver threads in the dirt. She caught one glimpse of a hand, too many joints in the fingers, and then the clearing held only flowers and stone and dark. Her pendant flared hot. “No,” Rory snapped, gripping it through her shirt. “Not helpful.” The clearing shifted. That was the only word for it. Not a sound, not a flash, but a tilt in the world, a subtle reordering of distance. The standing stones seemed farther apart than before. The nearest oak leaned in tighter. The path she had used to enter no longer sat where it had a moment ago. Her skin prickled all over, as if the air had filled with invisible needles. Rory backed towards the centre stone and kept her eyes moving. Left. Right. Up. Down. No blind spots. No corners. No easy approach. A whisper moved through the flowers. She turned her head. “Rory.” The voice came from her own mouth and from somewhere a little beyond it, the way a reflection follows a face with the wrong delay. She swallowed. “Not tonight.” “Rory.” It used her name like fingers testing a bruise. Rory pulled the phone from her pocket, thumbed the torch on, and swept the beam across the grove. The light touched the oak trunks, the root knots, the standing stones, the silver threads under the earth. And something standing just beyond the nearest stone. Small. Child-sized. Crooked at the shoulders. No face she could hold. Only a wet darkness where features ought to have been, and a hand lifted in greeting. The thing did not blink. Rory’s mouth went dry. The torch beam shuddered in her grip. When she found her voice, it came out rough. “You’ve got the wrong woman.” The thing tipped its head. A second shape stood behind it. Then a third. The clearing had not filled. She would have seen that. No, these had been here the whole time, layered in the dark at angles her eyes refused to catch until now. One near the standing stones. One by the roots. One at the edge of the flowers with its arms folded around itself like a patient guest. Rory backed up until her shoulder blades hit cold stone. The first one took a step forward. Its foot did not bend the flowers. “Do not,” she said. It took another step. She snatched the Heartstone Pendant and tore it out from under her shirt. The crimson gem lit her palm with a deep inner glow, and every figure in the grove flinched back at once, a ripple of sudden, shared recoil. Rory stared. “Oh. That’s new.” The pendant beat once, hard and hot, then again, pulling heat through her fingers and up her wrist. The small crescent scar there tingled as if a needle had touched it. The nearest standing stone answered with a low hum. Not a sound she heard. A sensation. Deep in her teeth, in her bones. The silver threads under the ground brightened until they showed like a web of veins beneath pale skin. Rory’s pulse slammed. From the dark beyond the stones, something larger than the others shifted. The smaller figures drew back, heads bowed, as though making room. “No,” Rory whispered, and this time the word carried less command than panic. A crack split the air. She whipped round. One of the oak standing stones had opened, not physically, not with chips or falling dust, but by peeling apart the way a mouth might part around an unspoken secret. Thin light leaked from the seam. Cold and sharp, it stabbed at her eyes. The pendant burned white-hot. Rory staggered, nearly dropping it. In the split stone, something moved, a shape tall and elegant and wrong, all angles and shadows in motion behind a veil of brightness. It pressed a hand against the seam from inside. Five long fingers spread slowly. The smaller figures in the clearing began to hum. Rory’s breath came short and shallow. She dug in her heels and forced herself not to run. Running would send her straight into the trees, straight into whatever waited there. She knew enough to understand a trap when it smiled at her. “You brought me here,” she said to the grove, to the stones, to the thing behind the seam. Her voice shook once and steadied. “You wanted the pendant.” The hand in the crack flexed. The grove answered with a chorus of soft, delighted clicks. Rory looked down at the Heartstone. The gem glowed deep red in her fist, and the silver chain had gone taut, as if something on the other side of the stone were pulling it from her. She wrapped the chain around her knuckles and braced. The seam widened. A smell spilled out, metallic and sweet, like old pennies left in rainwater. Rory gagged and raised the phone, not because she expected help, but because light felt better than darkness. Her torch beam struck the opening, and for one instant she saw the eye inside, pale and lidless, fixed on her with intimate, patient hunger. Then a hand reached through. Not from the seam. From behind her. It closed around her throat. Rory jerked so hard she nearly wrenched the pendant free. Fingers cold as river stones dug into her skin. The phone flew from her hand and smashed against the ground, its torch beam spinning wildly across flowers, stone, sky, hand, stone, hand. The grip tightened. A voice breathed against her ear, soft as a prayer. “Found you.” Rory clawed at the hand, nails scraping dead-cold skin, and the grove erupted in a sound like dozens of people laughing through clenched teeth.
created_at"2026-03-18T11:20:34.309Z" 3/18/2026, 11:20:34 AM
model"openai/gpt-5.4-mini-20260317"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency978
moderation_latency(null)
generation_time14576
tokens_prompt4560
tokens_completion3077
native_tokens_prompt4064
native_tokens_completion2514
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached3840
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.011769
router(null)
provider_responses
0
endpoint_id"9ee065b2-3d1c-43bc-bdd7-28af3b148282"
id"resp_084f04cb8eb05aef0169ba8a825d6481978b7817b0944dc051"
is_byokfalse
latency180
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-1773832834-90Jvj3aBzdo37T6LkoBJ"
upstream_id"resp_084f04cb8eb05aef0169ba8a825d6481978b7817b0944dc051"
total_cost0.011769
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
totalTags10
adverbTagCount0
adverbTags(empty)
dialogueSentences21
tagDensity0.476
leniency0.952
rawRatio0
effectiveRatio0
92.56% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2015
totalAiIsmAdverbs3
found
0
adverb"slowly"
count2
1
adverb"carefully"
count1
highlights
0"slowly"
1"carefully"
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)
77.67% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2015
totalAiIsms9
found
0
word"echo"
count1
1
word"throb"
count1
2
word"warmth"
count1
3
word"footsteps"
count1
4
word"pulsed"
count1
5
word"pulse"
count2
6
word"whisper"
count1
7
word"unspoken"
count1
highlights
0"echo"
1"throb"
2"warmth"
3"footsteps"
4"pulsed"
5"pulse"
6"whisper"
7"unspoken"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"let out a breath"
count1
1
label"clenched jaw/fists"
count1
highlights
0"let out a breath"
1"clenched her fist"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences202
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount3
narrationSentences202
filterMatches
0"look"
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences213
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen30
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2015
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
83.64% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions42
wordCount1959
uniqueNames10
maxNameDensity1.33
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Richmond1
Park1
Heartstone4
Pendant2
Hel1
Rory26
Fae1
Evan1
London1
One4
persons
0"Pendant"
1"Rory"
2"Evan"
3"One"
places
0"Richmond"
1"Park"
2"Fae"
3"London"
globalScore0.836
windowScore1
90.48% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences126
glossingSentenceCount3
matches
0"not quite a clock, not quite nails on wood"
1"not quite nails on wood"
2"seemed farther apart than before"
3"as though making room"
1.49% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords1.985
wordCount2015
matches
0"Not a sound, not a flash, but a tilt in the world, a subtle reordering of distance"
1"not a flash, but a tilt in the world, a subtle reordering of distance"
2"not physically, not with chips or falling dust, but by peeling apart the way a mouth might part around an unspok"
3"not with chips or falling dust, but by peeling apart the way a mouth might part around an unspok"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences213
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs117
mean17.22
std19.6
cv1.138
sampleLengths
021
136
218
372
47
527
66
77
88
981
10110
115
126
1313
1453
154
168
176
1838
194
208
2117
225
2349
245
251
268
2712
281
296
309
3115
3250
339
3427
3542
363
377
383
3919
407
4138
422
434
4457
4513
461
479
4843
494
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences202
matches
0"been packed"
1"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs306
matches
0"were pulling"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences213
ratio0
matches(empty)
96.28% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1966
adjectiveStacks0
stackExamples(empty)
adverbCount87
adverbRatio0.04425228891149542
lyAdverbCount16
lyAdverbRatio0.008138351983723296
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences213
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences213
mean9.46
std7.25
cv0.766
sampleLengths
021
120
216
318
413
528
613
718
87
97
1020
116
127
138
1410
1513
168
1718
1820
1912
2027
2127
225
2315
2419
2517
265
276
282
291
3010
316
3226
3321
344
355
362
371
386
3910
4014
416
423
435
444
454
464
476
4811
495
40.14% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats21
diversityRatio0.28169014084507044
totalSentences213
uniqueOpeners60
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount7
totalSentences176
matches
0"Then he had gone pale"
1"Only flowers nodding in a"
2"Even the insects seemed to"
3"Then, from just behind her"
4"Only a wet darkness where"
5"Then a third."
6"Then a hand reached through."
ratio0.04
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount40
totalSentences176
matches
0"she muttered, and her voice"
1"She stepped fully inside the"
2"Her Heartstone Pendant warmed against"
3"She took a slow breath"
4"He had swallowed hard, shut"
5"She crouched, fingers parting the"
6"She touched the stone."
7"She clenched and unclenched her"
8"she said to the trees"
9"She looked up."
10"She let out a breath"
11"It did not belong in"
12"It belonged in a sitting"
13"They glimmered, then vanished, then"
14"She knelt again, more carefully"
15"She stood so fast her"
16"Her pulse thudded high in"
17"She had learned that from"
18"she said, and kept her"
19"Her shoulder struck a root."
ratio0.227
76.48% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount135
totalSentences176
matches
0"Rory froze with one hand"
1"Something moved in the clearing"
2"The dark shape vanished between"
3"she muttered, and her voice"
4"She stepped fully inside the"
5"The brush of leaves closed"
6"The air held the damp"
7"Moonlight, caught in gaps between"
8"Her Heartstone Pendant warmed against"
9"Rory’s fingers went to it"
10"The little crimson gem sat"
11"The pendant answered with another"
12"She took a slow breath"
13"The grove always looked wrong"
14"The wrongness hid in the"
15"The wildflowers grew too thick,"
16"The oaks around the clearing"
17"Stone faces, half-erased by age,"
18"Rory walked towards the centre"
19"Yu-Fei had called it a"
ratio0.767
28.41% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences176
matches
0"Now the branches held still,"
ratio0.006
95.86% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences76
technicalSentenceCount5
matches
0"Stone faces, half-erased by age, wore expressions that shifted when she blinked."
1"The ground here carried a different texture, firmer than the rest of the clearing, as if the earth beneath had been packed by hands long dead."
2"They glimmered, then vanished, then glimmered again, as if something beneath the earth had opened an eye and closed it."
3"The shape lingered there for one impossible beat, all suggestion and outline, as if the grove had briefly remembered how to make a person and then forgotten aga…"
4"The gem glowed deep red in her fist, and the silver chain had gone taut, as if something on the other side of the stone were pulling it from her."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags10
uselessAdditionCount0
matches(empty)
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount4
fancyTags
0"she muttered (mutter)"
1"she whispered (whisper)"
2"Rory snapped (snap)"
3"Rory whispered (whisper)"
dialogueSentences21
tagDensity0.429
leniency0.857
rawRatio0.444
effectiveRatio0.381
84.9889%