Run: 2026-02-19-01KHT00JBM18RWG08AMTJXZ9GE

Run Details

Duration:
13.9s
Cost:
$0.001228
Provider:
Mistral

Model input

System
You are an expert and award-winning novel writer in the dark Romance genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The door swung open before Rory’s knuckles could rap a second time against the wood. Lucien stood there, one hand braced against the frame, the other gripping his ivory-handled cane like it was the only thing keeping him upright. His heterochromatic eyes—amber and black—locked onto hers with the precision of a sniper’s scope. “You,” he said, voice rough as gravel underfoot. The scent of bergamot and something darker, something like burnt sugar, rolled off him. Rory’s fingers twitched at her sides. She hadn’t expected him to answer. Hadn’t expected him to *look* like this—pale under the sharp angles of his face, his usually immaculate platinum hair mussed like he’d been running his hands through it. The tailored charcoal suit he wore was rumpled at the shoulders, the cuffs of his shirt rolled back to reveal forearms corded with tension. “Me,” she agreed, stepping forward before he could slam the door in her face. The flat behind him was dim, the only light spilling from a single lamp in the corner, casting long shadows across the hardwood. “You going to invite me in, or do I have to strong-arm my way past you?” A muscle feathered in his jaw. “Depends. Are you here to kill me or fuck me?” The question hung between them, raw and unfiltered. Rory’s pulse kicked up, but she didn’t flinch. “Neither. Though I haven’t decided which one I’d enjoy more.” Lucien exhaled through his nose, a sound that was almost a laugh. Almost. He stepped back, just enough to let her slip past him into the flat. The door clicked shut behind her, the deadbolts sliding home with a series of sharp *thunks*. The sound was final. Like a cell door closing. Rory turned slowly, taking in the space. Eva’s flat had always been a mess of books and scrolls, but this—this was different. The air smelled of old paper and something metallic, like blood left too long in the open. The bookshelves were half-empty, their contents strewn across the floor in haphazard piles. A single chair sat overturned near the window, its legs splayed like a broken spider. “You’ve been busy,” she observed, nudging a stack of papers with the toe of her boot. The top sheet was a police report, the ink smudged as if someone had gripped it too tightly. Lucien leaned against the door, watching her with that unnerving stillness of his. “You didn’t come here to admire my redecorating.” “No.” She crouched, picking up a photograph from the floor. It was Eva, her dark hair tangled, her eyes wide with something like fear. Rory’s stomach twisted. “I came because Eva’s missing. And you’re the last person who saw her.” The silence that followed was thick enough to choke on. Lucien didn’t move, didn’t breathe, but Rory felt the shift in the air anyway—the way the temperature dropped, the way the shadows seemed to lean in closer. “You’re lying,” he said finally, voice low. Rory stood, the photograph still clutched in her hand. “Am I?” Lucien pushed off the door, his cane tapping against the floor as he crossed the room. He stopped just short of her, close enough that she could see the flecks of gold in his amber eye, the way his pupils dilated when he looked at her. “Eva left a note. Said she was going to ground. Said she’d be back in a week.” “Bullshit.” Rory held up the photo. “This wasn’t taken a week ago. This was taken *last night*.” Lucien’s gaze flicked to the image, then back to her face. His expression didn’t change, but his fingers tightened around the cane. “Where did you get that?” “Does it matter?” Rory stepped closer, close enough to see the faint scar along his jawline, close enough to smell the whiskey on his breath. “Eva wouldn’t just disappear. Not without telling me. Not without telling *you*.” Lucien’s lips curled, just slightly. “You assume a lot, *chérie*.” The endearment hit her like a physical blow. Rory’s breath caught, her fingers curling into fists at her sides. “Don’t.” “Don’t what?” He tilted his head, studying her like she was a puzzle he was trying to solve. “Don’t call you what you are? Don’t remind you that you left *me* without a word? Or don’t point out that you’re standing in my flat, accusing me of God knows what, when you haven’t so much as sent a text in *three years*?” Rory’s chest burned. “This isn’t about us.” “Isn’t it?” Lucien’s voice dropped, rough and low. “Because from where I’m standing, it looks like you’re here because you *want* something. And I’ve never been one to turn down a woman who knows what she wants.” The air between them crackled, charged with something dangerous. Rory’s skin prickled, her pulse hammering in her throat. She should step back. She should *leave*. But she didn’t. Instead, she lifted her chin, meeting his gaze head-on. “I want to know where Eva is.” Lucien’s smile was slow, sharp. “And if I tell you?” “Then I’ll leave.” “Liar.” He reached out, his fingers brushing against the scar on her wrist—the small crescent-shaped mark she’d had since she was a child. His touch was feather-light, but it sent a jolt through her, hot and electric. “You’ve never been good at lying to me, Rory.” She jerked her hand back, her breath coming fast. “Don’t.” Lucien’s smile faded, his expression turning serious. “Eva’s in trouble. Real trouble. The kind that doesn’t end with a happy reunion and a cup of tea.” Rory’s stomach dropped. “What kind of trouble?” “The kind that involves demons.” His voice was grim. “The kind that involves *me*.” Rory’s mind raced. Demons. *Him*. The pieces clicked into place, and suddenly, she understood why Eva had been so secretive lately, why she’d been digging into things she shouldn’t have been. “You’re involved in this.” Lucien’s jaw tightened. “I’m trying to *fix* it.” “By what? Letting her walk into the lion’s den?” Rory’s voice rose, sharp with frustration. “You were supposed to *protect* her.” “And you were supposed to *stay*,” Lucien shot back, his voice a low growl. “But we both know how that turned out.” The words hung between them, heavy and suffocating. Rory’s chest ached, her throat tight. She wanted to scream. She wanted to *hit* him. But more than anything, she wanted to know the truth. “Tell me what’s going on,” she said, her voice steady despite the storm inside her. “All of it.” Lucien studied her for a long moment, his gaze searching hers. Then, with a sigh, he turned and limped toward the kitchen, his cane tapping against the floor. “You’re going to want a drink for this.” Rory followed, her boots silent against the hardwood. The kitchen was just as much of a mess as the rest of the flat—dirty dishes piled in the sink, takeout containers scattered across the counter. Lucien pulled a bottle of whiskey from the cabinet, along with two glasses. He poured them both a generous amount, then slid one across the counter to her. Rory took it, her fingers brushing against his. The contact sent a spark up her arm, but she ignored it, lifting the glass to her lips. The whiskey burned, but she welcomed the heat, the way it grounded her. Lucien downed his in one swallow, then poured himself another. “Eva’s been digging into things she shouldn’t have. Things that involve my father.” Rory’s stomach twisted. She knew enough about Lucien’s father to know that wasn’t good. “What kind of things?” “Old magic.” Lucien’s voice was grim. “The kind that shouldn’t exist anymore. The kind that can unravel the fabric of reality if it’s not handled carefully.” Rory’s grip tightened around the glass. “And Eva found it.” “Worse.” Lucien’s gaze met hers, his expression bleak. “She *used* it.” The words hit Rory like a punch to the gut. “She what?” “She performed a summoning.” Lucien’s voice was low, his words measured. “She tried to bring something back. Something that shouldn’t have been brought back.” Rory’s mind reeled. “What did she bring back?” Lucien’s gaze darkened. “Something that’s been hunting her ever since.” A cold dread settled in Rory’s stomach. “And you let her do this?” “I didn’t *let* her do anything.” Lucien’s voice was sharp. “I tried to stop her. But Eva’s always been stubborn. And she’s always had a death wish.” Rory’s fingers trembled around the glass. “Where is she now?” Lucien’s expression was grim. “I don’t know. But I know where she’s going.” Rory set the glass down, her mind racing. “Where?” “Avaros.” The name hung between them, heavy and ominous. “The demon realm.” Rory’s blood ran cold. “You’re not serious.” Lucien’s gaze was steady. “Deadly.” Rory’s mind whirled. Avaros. The demon realm. The place Lucien’s father had come from. The place that had shaped him, twisted him, made him what he was. And Eva—sweet, stubborn Eva—was walking right into it. “Why?” Rory’s voice was barely a whisper. “Why would she do this?” Lucien’s expression softened, just slightly. “Because she thought she could fix it. Because she thought she could bring back someone she lost.” Rory’s chest ached. She knew that feeling. Knew the desperation, the grief, the need to do something—*anything*—to bring back what you’d lost. She’d felt it when her mother died. She’d felt it when she left Lucien. “Who?” she asked, her voice hoarse. Lucien’s gaze met hers, his expression unreadable. “Someone she loved.” Rory’s heart pounded in her chest. “And you’re just going to let her walk into hell?” Lucien’s jaw tightened. “I’m going after her.” Rory’s breath caught. “You’re going to Avaros.” “Yes.” “Alone?” Lucien’s gaze held hers, steady and unyielding. “No.” The word hung between them, heavy with implication. Rory’s pulse raced, her mind whirling. She should say no. She should turn around and walk out that door and never look back. But she couldn’t. Not when Eva was in danger. Not when Lucien was walking into hell itself. “You’re asking me to come with you,” she said, her voice steady despite the storm inside her. Lucien’s gaze didn’t waver. “I’m not asking.” Rory’s fingers curled into fists at her sides. “You can’t just—” “I can.” Lucien’s voice was low, his words measured. “And I will. Because Eva’s my friend. And because I’m not letting her walk into Avaros alone.” Rory’s chest ached. She knew that tone. Knew that look. Knew that once Lucien made up his mind, there was no changing it. “Fine,” she said, her voice steady. “But we do this my way.” Lucien’s lips quirked, just slightly. “Your way?” “My way.” Rory stepped closer, her gaze locked onto his. “No secrets. No lies. And no more running.” Lucien’s gaze held hers, his expression unreadable. Then, slowly, he nodded. “Deal.” Rory exhaled, her shoulders relaxing just slightly. “Good. Now tell me everything. And I mean *everything*.” Lucien’s smile was slow, sharp. “Where do you want me to start?” Rory’s gaze didn’t waver. “At the beginning.” Lucien’s expression darkened, his gaze flicking to the photograph still clutched in Rory’s hand. “Then you’d better sit down, *chérie*. Because this story doesn’t have a happy ending.”
created_at"2026-02-19T03:45:01.832Z" 2/19/2026, 3:45:01 AM
model"mistralai/mistral-small-creative-20251216"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency324
moderation_latency(null)
generation_time13612
tokens_prompt4556
tokens_completion3102
native_tokens_prompt4219
native_tokens_completion2686
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached0
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"stop"
usage0.0012277
router(null)
provider_responses
0
endpoint_id"0118a65e-79f9-48b0-924e-38c4a41378e1"
id"96e7e7ea680e440b98a3c20558358237"
is_byokfalse
latency324
model_permaslug"mistralai/mistral-small-creative-20251216"
provider_name"Mistral"
status200
api_type"completions"
id"gen-1771472701-QvlZX8Gc7yabeL2aL17b"
upstream_id"96e7e7ea680e440b98a3c20558358237"
total_cost0.0012277
cache_discount(null)
upstream_inference_cost0
provider_name"Mistral"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags20
adverbTagCount1
adverbTags
0"he said finally [finally]"
dialogueSentences91
tagDensity0.22
leniency0.44
rawRatio0.05
effectiveRatio0.022
76.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1875
totalAiIsmAdverbs9
found
0
adverb"slowly"
count2
1
adverb"tightly"
count1
2
adverb"slightly"
count4
3
adverb"suddenly"
count1
4
adverb"carefully"
count1
highlights
0"slowly"
1"tightly"
2"slightly"
3"suddenly"
4"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)
38.67% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1875
totalAiIsms23
found
0
word"tension"
count1
1
word"pulse"
count3
2
word"stomach"
count4
3
word"silence"
count1
4
word"flicked"
count1
5
word"charged"
count1
6
word"electric"
count1
7
word"raced"
count2
8
word"unravel"
count1
9
word"measured"
count2
10
word"trembled"
count1
11
word"racing"
count1
12
word"whisper"
count1
13
word"unreadable"
count2
14
word"implication"
count1
highlights
0"tension"
1"pulse"
2"stomach"
3"silence"
4"flicked"
5"charged"
6"electric"
7"raced"
8"unravel"
9"measured"
10"trembled"
11"racing"
12"whisper"
13"unreadable"
14"implication"
0.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches4
maxInWindow4
found
0
label"heart pounded in chest"
count1
1
label"blood ran cold"
count1
2
label"stomach dropped/sank"
count1
3
label"sent a shiver through"
count1
highlights
0"heart pounded in her chest"
1"blood ran cold"
2"stomach dropped"
3"sent a jolt through"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences143
matches
0"p with frustration"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences143
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences209
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans20
markdownWords22
totalWords1860
ratio0.012
matches
0"look"
1"thunks"
2"last night"
3"you"
4"chérie"
5"me"
6"three years"
7"want"
8"leave"
9"me"
10"Him"
11"fix"
12"protect"
13"stay"
14"hit"
15"used"
16"let"
17"anything"
18"everything"
19"chérie"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions18
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions84
wordCount1282
uniqueNames4
maxNameDensity2.96
worstName"Rory"
maxWindowNameDensity7
worstWindowName"Lucien"
discoveredNames
Rory38
Eva6
Lucien37
Knew3
persons
0"Rory"
1"Eva"
2"Lucien"
places(empty)
globalScore0.018
windowScore0
97.37% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences95
glossingSentenceCount2
matches
0"something like burnt sugar, rolled off him"
1"something like fear"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1860
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount4
totalSentences209
matches
0"knew that feeling"
1"out that door"
2"knew that tone"
3"Knew that look."
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs84
mean22.14
std16.83
cv0.76
sampleLengths
053
18
278
353
416
526
652
767
834
921
1040
1137
127
1311
1463
1517
1627
1737
1810
1920
2062
217
2237
2328
2416
2510
263
2746
2810
2926
307
3114
3235
338
3421
3522
3633
3718
3836
3962
4039
4123
4218
4326
4410
4511
4612
4724
488
4910
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences143
matches
0"was rumpled"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs247
matches
0"was trying"
1"was walking"
2"was walking"
33.49% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount11
semicolonCount0
flaggedSentences8
totalSentences209
ratio0.038
matches
0"His heterochromatic eyes—amber and black—locked onto hers with the precision of a sniper’s scope."
1"Hadn’t expected him to *look* like this—pale under the sharp angles of his face, his usually immaculate platinum hair mussed like he’d been running his hands through it."
2"Eva’s flat had always been a mess of books and scrolls, but this—this was different."
3"Lucien didn’t move, didn’t breathe, but Rory felt the shift in the air anyway—the way the temperature dropped, the way the shadows seemed to lean in closer."
4"“Liar.” He reached out, his fingers brushing against the scar on her wrist—the small crescent-shaped mark she’d had since she was a child."
5"The kitchen was just as much of a mess as the rest of the flat—dirty dishes piled in the sink, takeout containers scattered across the counter."
6"And Eva—sweet, stubborn Eva—was walking right into it."
7"Knew the desperation, the grief, the need to do something—*anything*—to bring back what you’d lost."
91.87% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1296
adjectiveStacks1
stackExamples
0"small crescent-shaped mark"
adverbCount55
adverbRatio0.04243827160493827
lyAdverbCount14
lyAdverbRatio0.010802469135802469
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences209
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences209
mean8.9
std6.58
cv0.74
sampleLengths
015
124
214
38
414
56
66
728
824
914
1023
1116
126
1310
148
158
1610
1712
181
1914
2016
214
225
237
2415
2517
2613
2715
2816
2918
3013
318
3210
3314
343
3513
3610
3727
387
399
402
4116
4230
4317
446
4511
4611
4711
485
4925
41.39% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats18
diversityRatio0.2631578947368421
totalSentences209
uniqueOpeners55
71.94% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences139
matches
0"Instead, she lifted her chin,"
1"Then, with a sigh, he"
2"Then, slowly, he nodded."
ratio0.022
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount32
totalSentences139
matches
0"His heterochromatic eyes—amber and black—locked"
1"he said, voice rough as"
2"She hadn’t expected him to"
3"she agreed, stepping forward before"
4"He stepped back, just enough"
5"she observed, nudging a stack"
6"She crouched, picking up a"
7"It was Eva, her dark"
8"he said finally, voice low"
9"He stopped just short of"
10"His expression didn’t change, but"
11"He tilted his head, studying"
12"She should step back."
13"She should *leave*."
14"He reached out, his fingers"
15"His touch was feather-light, but"
16"She jerked her hand back,"
17"His voice was grim"
18"She wanted to scream."
19"She wanted to *hit* him."
ratio0.23
10.36% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount125
totalSentences139
matches
0"The door swung open before"
1"Lucien stood there, one hand"
2"His heterochromatic eyes—amber and black—locked"
3"he said, voice rough as"
4"The scent of bergamot and"
5"Rory’s fingers twitched at her"
6"She hadn’t expected him to"
7"The tailored charcoal suit he"
8"she agreed, stepping forward before"
9"The flat behind him was"
10"A muscle feathered in his"
11"The question hung between them,"
12"Rory’s pulse kicked up, but"
13"Lucien exhaled through his nose,"
14"He stepped back, just enough"
15"The door clicked shut behind"
16"The sound was final."
17"Rory turned slowly, taking in"
18"Eva’s flat had always been"
19"The air smelled of old"
ratio0.899
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences139
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences44
technicalSentenceCount0
matches(empty)
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags20
uselessAdditionCount7
matches
0"he said, voice rough as gravel underfoot"
1"he said finally, voice low"
2"Lucien shot back, his voice a low growl"
3"she said, her voice steady despite the storm inside her"
4"she said, her voice steady despite the storm inside her"
5"Lucien’s voice, his words measured"
6"she said, her voice steady"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount3
fancyTags
0"she agreed (agree)"
1"she observed (observe)"
2"Lucien’s voice (lucien voice)"
dialogueSentences91
tagDensity0.099
leniency0.198
rawRatio0.333
effectiveRatio0.066
75.3695%