How Good Is AI At Giving Feedback On A Short Story?
First of all, let me state this is an experiment. I am not pushing AI. However, I do not want to get left behind, and I don’t want those in my creative communities to be left behind too.
Let’s not descend into ideological finger pointing and anger – no matter which side we sit on. Or as I feel I am, pretty much in the middle.
If you want my view on AI and the creative fields, you can read that on my blog HERE.
But this simple question remains. Can AI offer feedback that is useful?
Hard baked into the Twisted50 project is story writers offering feedback on other writers work.
But we could all use more feedback, right? Especially good feedback?
On a whim I asked for feedback on one of my own short stories (not part of T50) and I was surprised at what ChatGPT could do.
So I asked the writers who have submitted a story to Twisted50 if they would like AI feedback too. It was one question among others about Twisted50 which was basically, do you want AI feedback on your stories? The response was very Brexit. About 50% saying yes, about 50% saying no. You can see that post HERE.
Several writers gave me the thumbs up to try, and I went with the first who responded. I may well do more to deepen our understanding and also based on what happens with this post too.
So thank you Sasha for offering up your story as the guinea pig.
This post is a chronology of events, of an experiment more than anything. To ask the simple question, in September of 2024, can ChatGPT 4.0 offer useful feedback on a short story?
Yes, the prompt engineering I did may well be amateurish, but I had to start somewhere. For those who do not have much experience with AI, the quality of the question asked very much determines the quality of the response from AI. This is what Prompt Engineering actually means. Ask good questions in a specific way and you will get better answers. It’s one reason why so many creatives who have tried AI come to the conclusion in under 60 seconds that it is rubbish. In my view, that is simply confirmation bias.
Below is the short story from Sasha which you can read, followed by the four human feedback comments left on the site over the last month. Then we have the ChatGPT feedback in both audio and text. It will read it out aloud to you if you like. You should take a listen.
I also asked Sasha for his feedback on the ChatGPT feedback. The irony of human feedback on AI feedback.
So. What do you think? First, of the story? What indepth notes could you offer?
What do you think of the human feedback that was left?
Finally, what do you think of the AI feedback from ChatGPT?
There are no right or wrong answers, just your own thoughts, feelings and viewpoints. The more we share, the better the results will become. And please, remember, everyone here is acting in good faith and exploring. I am NOT pushing any ideology, for or against AI. So please let’s play nice.
If you REALLY want to know where we are at, do this as an exercise. Read it all. Participate and find your own opinion.
Here’s the story for Sasha…
'Darkness, My Friend' (Draft 1)
by Sasha Roberts
Complete darkness with her eyes open or closed.
She blinked a few times to see if she was missing the difference. She wasn’t.
God, she was drunk.
The invisible world was spinning. Or rather, it was tilting under her feet and then somehow switching back to where it was a moment before. It was like being trapped in a GIF, the same moment endlessly repeated.
She’d never drunk alcohol before tonight but she’d only had a beer. Had they spiked her drink?
She planted her feet in the soil to keep herself upright. Her ankles were scratched raw by the stubble of the recently harvested crop. Her eyes were sore from crying. Snot ran from her nose. Her tinnitus rang like the endless echo of a doorbell held down for too long, demanding attention. Too many hours with her headphones on and the music turned up loud. Music to drown out her mum and dad’s endless fighting. To block out the other kids at school jeering and laughing at her. Until they found her behind the science block where the janitor stored his tools and bits of wood, corrugated metal and bricks. Some of those bricks had been there when she started at that school. She wondered if they’d seen other kids like her over the years trying to hide. Trying to convince themselves they wanted to be alone. That it was a choice to spend breaks and lunchtimes there until the bell rang.
When they found her, she’d been surprised when instead of the usual comments, insults, spitting and punches, they’d invited her to the cinema that weekend. She’d agreed but then not gone. She wasn’t that stupid.
The following Monday they asked her where she’d been. They’d waited for her. She still didn’t trust them. Why should she? Helen had agreed – they were up to something.
One lunchtime she walked past their table and they told her to join them. She couldn’t think fast enough to make an excuse so she’d sat at the one free seat that looked like it had been waiting for her. They didn’t talk to her much but she wasn’t being ignored. It was like she’d always been a part of their clique. As if she was simply The Quiet One.
The same thing happened the next day.
* * *
When she was eight years old, she’d seen a film in the middle of the night while her parents had left her alone to go to a party. The final scene freaked her out so much she’d gone to bed with every light on in the house. Her mum had given her the belt for that when she came home at 3am pissed out of her skull, her dad passed out on the sofa.
The film was about a bullied teenager who is tricked into thinking everyone at school likes her before they pour a bucket of pig’s blood over her. But the girl has the power to move things with her mind and she kills them all. Her crazy mother had warned her they weren’t to be trusted and she’d been right. Helen said the same thing about her new friends. But Helen wasn’t her mother. Helen was her friend. She wasn’t trying to control her – she was looking out for her.
She’d met Helen when she’d lost the blue scarf her nan had given her for Christmas. Her mother had screamed at her, calling her a stupid, ungrateful idiot before telling her to go outside in the dark and not come back till she’d found it. She wasn’t allowed a phone so she had to take a torch and search all round the farm, the yard, inside the barn and out onto the fields through the growing barley. The torch had flickered out and she was lost in darkness except for what little illumination came from the stars and waning fingernail-slim moon.
She began to cry, knowing she would never find the scarf and dreading what her mum would do to her. She hated God for making her live this life and for knowing it was wrong to pray for anything for herself so she couldn’t even ask that she would find the scarf. Instead, she cried and prayed that He would just leave her alone so she could escape the world and the unfair rules that everyone but her seemed to understand, making her a freak that everybody happily tortured.
That was when she met Helen.
‘Are you alright?’
The surprise was enough to make her stop crying, like a tap had been turned off. All she could see was a silhouette darker than the world around her. There was the impression of someone wearing only a dress and with long hair reaching just below the shoulders. Yes, she was alright, thank you. Just looking for something.
‘What you looking for?’
She was too embarrassed to explain about the scarf. It would sound ridiculous when spoken out loud. Instead, she asked what they were doing there on private property.
‘Just out for a walk. Public right of way. Or something.’
The silhouette giggled.
‘I’m Helen.’
She’d introduced herself to Helen and said she should probably go cos public right of way or not, her dad would not take kindly to a stranger walking through his barley crop.
‘Let me help you.’
Eventually, she’d accepted the offer of help. Helen found the scarf. She didn’t know how Helen could have found it where she claimed – ‘Under the ash tree by the fence.’ – when she hadn’t been up that way since being gifted the scarf, but she was just happy to avoid her mum’s fury.
‘See ya, then.’
And she had. A few days later she went out in the middle of the night when she lost her hat – her mum hadn’t noticed yet – and Helen was there again, out walking, joined the search and found it. She said she’d invite Helen in for tea but her parents didn’t allow strangers in the house. Helen said she understood all too well what that was like and said they should meet again the next night.
It felt so natural meeting Helen at night. She was a freak so of course her only friend would be a freak too. The fact she never saw her was a bit weird but Helen said she had a birthmark on her face that she was self-conscious about and that was why she only went for walks at night.
They bonded quickly.
* * *
The girls had invited her to a house party. Everyone was going.
Helen had advised against it when she told her about it.
‘They’re not your friends. Not really.’
She told Helen she was wrong. They’d been nice to her, letting her walk round together during breaks, telling her the latest gossip around school and even one time calling her up at home to ask for help with homework. Why would they invite her to a party if she wasn’t their friend?
‘Don’t you think it’s a bit weird?’
What was weird, she asked.
‘They bully you for years and now want to be your friend. You don’t think that’s weird?’
It was true that the shift from being nobody to an (awkward) member of a popular group of girls was inexplicable. But like a banknote found on the street, her new found acceptance was not to be questioned or given up.
She went to the party.
There had been an electricity in the house when she got there. People were excited about something but she couldn’t tell what. She even asked what was going on but no would say. They carried on partying but the anticipation was undeniable.
She had a beer. It tasted disgusting but she drank the whole can. Drunkenness washed over her like a cloud passing across the sun, leaving her in the cold.
As she stumbled against the wall, her swimming vision taking in a wall-mounted deer head that seemed to be staring at her with its black eye, she became aware of a bright white light. She was being filmed by several phones as she was guided through the house and out the back into the yard. The cold air outside was like ice down her back and made her more aware of what was going on while still being unable to resist.
Hands were all over her. She thought they were supporting her body but then she found she was soon in just her pants. They took her to the end of the garden and she was thrown forward onto packed earth. The lights continued to blind her as they videoed her rolling on the earth amongst the squawking, flapping chickens, loose feathers and shit sticking to her skin.
She began crying, unable to find a way out from behind the chicken wire fencing. Eventually, someone must have opened the gate for her to get out and she ran, everyone laughing. She knew which way home was and she stumbled and fell her way through the dark, terrified they would chase and catch her for further humiliation.
Her trainers eventually crunched on fresh cut stalks, telling her she was in the barley field. Crying out Helen’s name, she found her leaning against the scarecrow.
‘What happened?’
She told her.
‘Hate to say I told you so…’
The night was pitch black, clouds blocking out the moon and stars, saving her from their witnessing her humiliation. She stood there, covering herself despite the dark hiding her nakedness.
‘You’re like me. I can tell.’
The clouds began to appear, tinted red by the first rays of dawn.
‘I didn’t have any friends either. None that didn’t end up hating me.’
She asked why they hated her.
‘I wasn’t always…a good friend.’ The dark outline of Helen’s head looked away to the horizon. ‘Eventually, they all gave up on me and cut me off.’
She didn’t know how to reply. She tried sorry, but it sounded weak.
Helen seemed to shake herself out of her reverie. She turned back to look at her and the light was just starting to show Helen’s face, like a developing Polaroid. The sight made her freeze.
‘But we could be friends. If you wanted.’
She was still staring at Helen’s face. Or what had been her face.
‘Why don’t you stay here? With me?’
The clouds seemed ripe with blood. Helen was pale and her hair hung lankly around her face, her eyes set in dark circles as if she’d wiped them with sooty hands. Her dress was damp and her wax raincoat was a body bag swallowing her plump frame.
She looked around as the world revealed itself in the morning light. It was her dad’s field but she didn’t recognise it. She could be anywhere.
‘Stay with me.’
She noticed Helen was holding something out to her. The blade was dull, the handle worn and black. She took it without thinking.
She looked at Helen who was smiling at her, eyes alive with excitement.
‘It won’t hurt. Promise.’
‘I don’t know…’
‘I can’t do it for you.’
‘I’m so cold.’
‘You won’t be. Not for long.’
She thought about her life. About being alone. About how stupid everything seemed, especially herself and her stupid life.
She looked at the razor in her hand. She raised her other arm and turned the inside of it up towards the blood-red sky like an offering.
It would be nice to have a friend.
OK… Back to me, Chris. What did you think? Can you make some notes before reading on? Even if just a few bullet points?
Now here is the human feedback from the community...
What do you think about this feedback? The story got four reviews, two five stars and two four stars. I have redacted the names of the reviewers.
Omg That was fecking orrible. Well done!! Two small things This line confused me – There had been an electricity in the house when she got there. The atmosphere was electric/ maybe you’re trying to avoid that cliched line? Typo here – She even asked what was going on but no would say. Ie no one would say.
⭐⭐⭐⭐⭐
Sombre… Hi Sasha, Great story… I wasn’t sure where it was leading but the ending was brill! I honestly don’t have much in the way of suggestions, ‘I think it was a well crafted, well paced story with a dark ending to match. Well done 🙂
⭐⭐⭐⭐⭐
Written Like Poetry! Sasha, I love your style of writing. Your voice is refreshing and original, I could picture everything so clearly. The only part of the story I had trouble with was Helen’s visibility. Surely if the protagonist is spending that much time with her, there would be some bright nights with full moons where she could see the monster Helen truly is, or glimpses of it at least. Especially in an open environment like a field. Something to consider, otherwise well well done!
⭐⭐⭐⭐
This story’s imagery is wonderful. Everything was so vivid. I loved the “bricks” that had “seen other kids like her over the years trying to hide.” “The clouds seemed ripe with blood” made me shiver! Set up was excellent, subtle enough to keep the reader guessing about Helen’s motivation until the final moment. Well done! Good luck!
⭐⭐⭐⭐
So here's what I did with ChatGPT 4.0
I decided on a prompt that referenced a human, this time Stephen King. I don’t know if that helped or not, but my logic was to hone in on a singular viewpoint, rather than the homogonised ‘cloud brain’. I did this with a free account, so it cost nothing, and it did it in real time. The whole process took less than 30 seconds, including my copy and paste.
Here is the prompt I used…
As a horror book editor of short stories, who is also Stephen King, please review the following story for both strengths and areas for improvement. On a scale of 1–10, how would you rate it? Be candid and objective in your feedback.
I then copied in the full story into ChatGPT with permission from the author.
Here’s what it came back with. You can read the full response below, but I also recorded the ‘read out loud’ version that ChatGPT offered. Click play below, or read the feedback below…
Text version…
Alright, stepping into my “Stephen King editor mode,” let’s dive into this story, its strengths, weaknesses, and where it can go from good to great.
Strengths:
1. Atmosphere of Dread:
The story nails that creeping sense of unease from the first line. The mix of drunken disorientation and the protagonist’s confusion works well, creating a blurry line between reality and something more sinister. There’s an oppressive feeling of doom that builds throughout the narrative. This gradual increase of discomfort—where we feel like something awful is coming but aren’t sure what—is well done. It reminds me of the slower, ominous buildup in *Carrie* or *Pet Sematary*.
2. Relatable Isolation and Vulnerability:
You’ve captured the loneliness and bullying aspect really well. The main character feels vulnerable and cut off from the world in a way that’s emotionally powerful. Her background—feeling like an outcast, never being able to trust anyone—adds weight to her decisions. It’s tragic, and readers will feel empathy for her, which makes the horror hit harder. It echoes themes of alienation you see in *Carrie* or *Christine*, where social isolation leads to dark outcomes.
3. Helen as a Creepy, Ghostly Figure:
Helen is effectively unsettling. There’s something off about her from the start, but she’s subtle in her manipulations. She reminds me of King’s other-worldly characters, like the seductive evil of *Pennywise* or *Randall Flagg*. Helen’s slow, subtle influence feels like a psychological trap, and her presence gives the story a supernatural edge without spelling everything out, leaving much to the reader’s imagination.
4. Building Tension Toward the Climax:
The moment where Helen offers the razor, and the sky turns blood-red, is great. It’s eerie, disorienting, and leads into the story’s darkest moment without being overly gory. It evokes a sense of both surrender and betrayal, where the protagonist is walking willingly into something she knows is wrong but feels powerless to stop. The visual image of the dull blade and the morning light creeping in adds a gothic, tragic quality to the ending.
Areas for Improvement:
1. Unfocused Narrative:
The story jumps around a bit, especially in the beginning, where the protagonist’s thoughts shift between her drunken state, her tinnitus, and her past memories. It feels disjointed at times, and the structure could be tighter. We want to stay focused on her emotional and physical state as the night progresses. While flashbacks and fragmented thoughts work in horror to build a character’s backstory, some of these memories (like the janitor’s tools) feel like they don’t serve the overall narrative and could be cut or streamlined.
2. Dialogue with Helen Lacks Depth:
The conversation between Helen and the protagonist is good, but it could have more depth to make the ending punch harder. Helen’s lines are a little generic (“Stay with me” or “You won’t be cold for long”). Giving Helen some more sinister, manipulative dialogue could ramp up the tension. Helen could subtly prey on the protagonist’s insecurities and loneliness even more, making her choice feel inevitable rather than rushed. Think of how *Pennywise* lures children in by feeding on their fears.
3. Underdeveloped Bullying and Betrayal Scene:
The party scene, where the protagonist is humiliated, feels a bit rushed. It’s a pivotal moment that pushes her into Helen’s embrace, so we need to feel the full impact of her betrayal. Right now, it’s horrifying, but it lacks emotional punch. We need to feel her sinking realization that these girls were never her friends. Consider extending the scene, giving more sensory detail of her degradation, her panic, and the overwhelming cruelty of the others. Let the reader feel her world crumbling in that moment.
4. Ambiguity of Helen’s Nature:
While ambiguity is great in horror, we could use a bit more clarity about who or what Helen is. Is she a ghost, a figment of the protagonist’s imagination, or some kind of demonic presence? Leaving Helen somewhat undefined is fine, but a few more hints about her backstory or how she connects to the protagonist’s own life would give more weight to the final decision. In *The Shining*, we get just enough insight into the evil forces at work to make them terrifying, even though they remain largely mysterious.
5. Ending Feels Rushed:
The ending, while visually and emotionally powerful, happens too fast. The protagonist’s decision to harm herself feels almost casual. If we’re going to buy into her surrender, we need to feel more of her internal struggle. Right now, it feels like she’s accepting the razor and making this choice too easily, even if she’s desperate. Her hesitation, her fear of pain, and the weight of the finality of her decision need to be more deeply explored. Think of how King stretches out the tension in the climax of *Misery* or *Pet Sematary*—the agony of deciding whether to escape or give in should be palpable.
Overall Rating: 7.5/10
This story has a lot of potential. It’s atmospheric, emotionally grounded, and has an eerie, slow-burn quality that works well in horror. The themes of isolation, trust, and betrayal are strong, and Helen is a chilling antagonist. But the narrative could be tightened, the character’s emotional journey could be more deeply explored, and the climax stretched for maximum tension. You’re on the right track, and with some fine-tuning, this could easily be an 8 or 9. Keep pushing at those dark, twisted edges, and this story will stick with readers long after they turn the last page.
End of feedback from ChatGPT.
Response from Sasha, the writer...
Wow. I’m genuinely impressed by this feedback. Some nice bits to encourage me but also some specific criticisms along with suggestions of what to do about them. This seems to me to be really useful.
I think I might consider using ChatGPT to help with my future writing! Even the odd bit that I personally disagree with made sense – my disagreement comes down more to personal taste.
So now the big question? What did you think?
The question is, can AI offer feedback that will allow you, a writer to improve your work so that other human beings who red it, have a better experience. In accordance with what YOU as a creative wants to express?
I have zero plans to make this part of Twised50 by default, though some writers are now asking for it to be added as something they can opt into. Create50 is built on the value of both creating stuff and then offering feedback too. We improve as creatives by doing both. This is core.
Please leave your comments below…
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8 Responses
Hi Chris.
i have slid off the fence to the side of ‘yes’ rather than ‘no’. The example you give of the AI review works well. Whether or not the changes suggested would interfere with the 2000 word limit, not sure.
My previous experience with AI tarot reading does reveal the accuracy of the review will be appropriate if the quality of the question is clear. You explain that and i have re read my Lotus experience and understand the clear focus of the reading in answer to an initial question, then a follow up question or two. So give it a go. We still need to be a writing community working with each other though.
I have to admit I never thought of using AI to revise my 3 pieces using a particular prompt but tried it after reading this and it does give food for thought. If I had tried using this before completion of my work I imagine it would have helped me write better as it seems that with two of the pieces I perhaps needed to expand the length to accomodate what AI was suggesting in its remarks and I would have heeded its advice in other areas. It then would have been interesting to try again with a prompt and see if in fact AI recognised the improvement.
I wonder if once the final 50 have been chosen, is there room to allow authors to rework their entries by any their own hands or AI and is it necessary to have another contract stating AI was used at any stage? I’ve no idea! (or indeed should the use of AI before the cut off date applied be stated, but then people may not be truthful anyway, its a conundrum)
The observations themselves look accurate although applying them may take a greater amount of skill then I have (other writers may or may not agree) and one only had a certain amount of time to complete the stories, you cannot put it away and come back to it next year. (Unless you enter it elsewhere) The last piece I wrote I struggled with for weeks before I even began writing it and it was only after I entered it I realised that maybe the subject of it was me, it might have been my unconcious mind spewing out what I felt about an aspect of life , but time was and is constrained and so you enter it unaware perhaps of your intentions and underlying themes. I shall have to try querying AI regarding all this regardless of what happens to it.
What would happen if AI suggested that it writes any piece we have in the style of a well known author?
What its done so far is a useful tool but I imagine there will be bi-polar brick bats comin’ atcha!
I thought the AI feedback on Sasha’s story was very interesting, and much better than I expected it to be. It contained a number of specific, actionable suggestions, which can be difficult for human readers to offer lest they seem to be encroaching too much on a writer’s space. Noting, though, that the AI feedback leaned a lot on, and I think gained from, comparisons to work by Stephen King, but that this most likely wouldn’t have happened without King’s viewpoint being suggested. So what one gets out these systems does depend greatly on how one frames one’s questions. Having said all that, I think the decision to leave AI out of the Twisted50 loop is the right one, given the community is so polarised about the use of AI.
Interesting topic.
Stephen King has written at least 200 stories, many of which have been turned into films/movies.
He has had a lifetime to learn, develop, and hone his skills.
Who helped him?
How did he develop them?
It wasn’t AI in his early years but maybe AI played a small role later in his career. AI has been around for quite some time, well before it became mainstream.
Without a doubt, he is a gifted writer.
Maybe he was his own teacher.
I believe the AI response to Sasha’s story would have been different if the 2000 word count restriction, had been included in the initial prompt.
This AI test response shows the difference between us commenting vs AI commenting.
Now, maybe if this community was given the same prompt to reference when they commented, then maybe some similar comments may have been brought forward, but how many of us would have that advanced knowledge, of a specific genre, of that specific author reference, and also have the editing skills required?
Maybe Sasha wasn’t writing a Stephen King-style clone story.
I certainly would not have any Stephen King-like reviewing skills. So what value would my comments have?
I learned a long time ago that there are at least three sides to every issue or story.
I believe we should be open enough to learn from each other, regardless of our proclivities.
Sasha, regardless of the AI review, on your own, you have crafted a great Twisted50 story.
All the Best.
This is fascinating and like a lot of the other people commenting, I was blown away by how detailed and specific the AI feedback was. I agreed with a lot of it but I do think some of the feedback failed to take into account the restrictions on getting across all the relevant details of your story within the 2000 word limit. To be honest, some of the human feedback I’ve seen could be accused of that too.
As I’ve said in feedback to Sasha’s story on the Twisted50 site, I’m always a little bit wary of depictions of suicide, particularly if the character is someone that a lot of readers might identify with. That doesn’t mean it should never be depicted, but I think it is worth being aware of some of the research into links between types of depictions of suicide and self-harm and real life suicide attempts. I referenced some really useful information on depictions of suicide and self-harm here https://www.samaritans.org/about-samaritans/media-guidelines/guidance-depictions-suicide-and-self-harm-literature/
That doesn’t necessarily mean that Sasha needs to change anything or that the specific depictions here are problematic, but it’s interesting that the AI feedback doesn’t in any way question this aspect of the story. I would hope it would at least suggest that trigger warnings or links to available support and guidance might be included with the story, which is something the guidance above recommends.
I do think there is a danger with AI in general, that we end up homogenising the feedback. As the AI can only draw from pre-existing viewpoints, there is a danger that it struggles to recognise the value in something which takes an alternative approach and might give very standard, vanilla responses. With all that in mind it seems that, at least for the time being, it is something you should always temper with the viewpoints of human critics, who have an emotional complexity and mental adaptability that I just don’t see matched in AI yet. As with a lot of AI, it seems best used to assist, rather than replace human activities.
I suspect it did not offer a trigger warning as that was not in the question. It was also characterised as a horror book being judged by Stephen King, and as such, I suspect Kind deals in ideas far more disturning but does not have trigger warnings on his books. The brand itself does that for him. I suspect if you asked difectly should it include a trigger warning, it would offer one and some resources. I would think a book called Twisted with a teriffying cover is itself a trigger warning?
A fascinating experiment. Thank you, Chris. And thank you Sasha.
The AI feedback is really remarkable. It’s extraordinary that a computer can produce that analysis. But I was struck by the things it doesn’t say.
Had I been offering feedback, I’d have focused on the presence/absence of agency available to the protagonist, and how that changes or does not change through the story. (Acts of volition being one of the ways in which audiences get to understand who a character really is, and get to feel a sense of identification with a character.) I’d also have been commenting on likely reader expectations – given the cultural space in which this story lies. (What readers will expect and how that expectation can be pleasingly subverted.) The absence of this kind of feedback from the AI seems significant to me.
Thanks Rod and howdy doody! Much of the feedback on the feedback reminds me of SatNav comments from when tghey first showed up. People would relish telling stories of that time it took them down the wrong road while simultaneously ignoring the many times someone with a map sitting next to them also got it wrong. Over time we now all use phones for satnav. Is it better? Well likley yes, though it still cannot accomodate that moment where you say ‘shall we go this way instead, for no reason other than we just want to’. So that human element is still missing even in directions. All that said, I think it is important to also compare the AI feedback to the human feedback which was not as indpeth. That’s partly because of the project of course. And that AI feedback is free and instant. At least as of now.