Run: 2026-02-20-01KHXPJBF76YKZNZ0KYJ667H4A

Run Details

Duration:
40.7s
Cost:
$0.006803
Provider:
Mistral

Model input

System
You are an expert and award-winning novel writer in the dark Mystery genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4414" name="Eva Kowalski" aliases="Eva, Evie" pronouns="she/her" species="Human" storyRole="Best Friend"> <eyeColor>green</eyeColor> <hair>curly red</hair> <height>5'4"</height> <age>26</age> <glasses>round glasses</glasses> <satchel>worn leather satchel full of books</satchel> <freckles>freckled complexion</freckles> <nervousHabit>tucking hair behind her left ear</nervousHabit> <description>Aurora's childhood friend and an occult researcher.</description> <backstory>Moved to London two years before Aurora and works as a research assistant at the British Museum's restricted archives. She holds a master's degree in Ancient History from Oxford.</backstory> </character> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> <item id="2004" name="Veil Compass" aliases="the Compass, shadow compass" type="Tool" origin="The Veil Market"> <casingMaterial>small brass compass</casingMaterial> <faceMarkings>face etched with protective sigils</faceMarkings> <needle>points toward the nearest supernatural rift or portal</needle> <patina>casing has a patina of verdigris</patina> <creator>crafted by a Shade artisan</creator> <description>A compass attuned to supernatural energy.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the mystery genre. A detective arrives at a crime scene in an unusual location. Something is wrong — the evidence doesn't add up. A colleague is present, offering a different interpretation. Through careful observation and deduction, the detective begins to see what others have missed. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The brass compass needle twitched violently, then spun counterclockwise until it pointed directly at the tiled wall. Harlow Quinn’s fingers tightened around its verdigris casing. The air smelled wrong—like burnt copper and something older, something that had no business lingering in the abandoned Tube station’s stale darkness. “You’re late.” Davies didn’t look up from his notebook, pen hovering over a sketch of the body’s position. His torch cast jagged shadows across the platform’s peeling advertisements. “And you brought *that* thing again.” Harlow ignored him, stepping over the police line tape with military precision. The beam of her own torch cut through the gloom, landing on what remained of the victim. Or what *should* have remained. The corpse—if it could still be called that—lay sprawled across the tracks, limbs splayed at unnatural angles. But the wrongness wasn’t in the posture. It was in the *absence*. No blood. Not a drop. Just the faintest imprint of something dark seeping into the concrete, like ink blotted on parchment. She crouched, the leather of her watch strap creaking against her wrist. The victim’s clothes were intact, no tears, no signs of struggle. A man in his late thirties, by the look of him, dressed in a tailored overcoat that had seen better decades. His face was frozen in an expression that wasn’t quite fear, wasn’t quite surprise—something older, something that made her stomach clench. “Cause of death?” Harlow’s voice was steady, but her thumb traced the sigils on the compass face. The needle hadn’t stopped trembling. Davies flipped his notebook shut. “That’s the fun part. ME says his heart just… stopped. No toxins, no trauma, no nothing. Just *stopped*. Like someone hit the off switch.” “Bullshit.” “My thoughts exactly.” He jerked his chin toward the victim’s left hand. “Notice anything missing?” Harlow didn’t need to look. She already had. “No wedding ring. But the tan line’s there.” “Bingo. And get this—” Davies pulled a evidence bag from his pocket, holding it up to the torchlight. Inside, a single bone token, no larger than a coin, etched with symbols that made her eyes ache. “Found it in his pocket. Same as the others.” She didn’t touch it. Didn’t need to. The compass needle swung wildly toward the bag, then back to the body, as if torn between two magnets. “You’re telling me this is another Veil Market casualty.” Davies exhaled through his nose. “Third this month. All male, all mid-thirties, all with these bloody tokens. All with hearts that just *decided* to quit.” Harlow stood, her torch sweeping the platform. The tiles were wrong. Too clean. In an abandoned station, decades of grime should have caked every surface, but here, the walls gleamed in patches, as if something had *licked* them. And the air—thick, humid, like the breath of something vast and patient. She turned her back on Davies, walking toward the far end of the platform where the tracks disappeared into darkness. “Where are you going?” “Looking for the *real* crime scene.” The torchlight caught something on the wall—a symbol, carved into the tile with precise, deliberate strokes. Not graffiti. Not vandalism. A sigil. The same backward Greek she’d seen in the Bristol case, but this time, the lines were fresher, the edges sharp enough to draw blood if she ran her fingers over them. She didn’t. Instead, she followed the beam downward, where the concrete was *warped*, as if something had pressed against it from the other side. Like a handprint in wet cement, but deeper. Wider. *Too many fingers.* “Quinn.” Davies’ voice was tight. She turned. He was standing over the body again, but his torch was aimed at the victim’s mouth. Or what was left of it. The lips were parted. Just slightly. And between them, nestled on the tongue like a communion wafer, was a second bone token. Harlow’s compass needle *screamed*, spinning so fast the casing grew warm in her palm. Davies reached for his radio. “We need to call this in. Get the occult unit down here before—” “No.” He froze. “No?” “They’ll contaminate it.” She stepped back toward the body, her torch fixed on the token. The symbols on it were different from the one in the evidence bag. These weren’t etched—they were *burned* into the bone, as if branded. “This isn’t just another Veil Market gone wrong. This is a *message*.” Davies’ jaw worked. “A message for who?” Harlow didn’t answer. She was too busy watching the compass needle slow, then stop, pointing not at the body, but at the warped concrete. At the sigil. At the *space* between the tiles, where the air shimmered like heat haze over tarmac. Where something was watching them back. She reached into her coat. Her fingers closed around the cold metal of her service weapon. “We’re not alone.” Davies followed her gaze. His breath hitched. “Christ. Quinn, tell me that’s just the torch playing tricks—” The sigil on the wall *pulsed*. A sound like a thousand wet fingers dragging across glass filled the station. The torches flickered. Davies swore, fumbling for his radio, but Harlow’s arm shot out, grabbing his wrist. “Don’t.” The air pressure shifted. Her ears popped. The compass needle bent, *physically bent*, as if fighting against an unseen force, then snapped back into place with an audible *ping*. The body on the tracks convulsed once, violently, before going still again. And then the tokens—both of them—*glowed*. A sickly, greenish light seeped from the victim’s mouth, tracing the sigil on the wall, then snaking along the tracks toward the tunnel. Davies made a choked sound. Harlow’s grip on her weapon tightened. The light stopped at the edge of the platform. Where a woman now stood. She was tall, draped in a coat that seemed to drink the torchlight, her face obscured by a wide-brimmed hat. But Harlow could see the curve of her smile. Could see the way her gloved fingers toyed with a third bone token, rolling it between them like a coin. “Detective Quinn.” The woman’s voice was smooth, cultured, the kind of voice that belonged in Mayfair drawing rooms, not abandoned Tube stations. “I was wondering when you’d finally notice.” Davies’ radio crackled to life. A dispatch voice, tinny and distant: *“—all units, be advised, we’ve got a 10-99 at Camden Lock. Multiple casualties, possible occult activity—”* The woman tilted her head. “Ah. That would be the *distraction*.” Harlow’s finger rested on the trigger. “Who the hell are you?” The woman’s smile widened. The token in her fingers *clicked* against something unseen. “The question, Detective, isn’t who I am.” She stepped forward, and the air *ripped*, like fabric tearing, the sound raw and wet. “It’s who *he* was.” The body on the tracks twitched. Davies stumbled back. “What the *fuck*—?” The corpse’s fingers curled into the concrete. Cracked it. Then, with a sound like a glacier calving, the victim’s chest *split open*, not with blood, not with gore, but with *darkness*, thick and roiling, spilling onto the tracks like oil. And from that darkness, a hand emerged. Not human. Too many joints. Too many *fingers*. Harlow fired. The shot echoed, deafening in the confined space. The bullet struck the woman’s shoulder—or should have. Instead, it *passed through*, as if she were made of smoke, embedding itself in the tile behind her with a puff of dust. The woman laughed. A rich, warm sound. “Oh, Detective. Bullets won’t help you here.” The darkness on the tracks *moved*. Coalesced. Rose. Davies was screaming. Harlow barely heard him. She was too busy watching the compass needle spin, spin, spin, until the casing grew so hot it burned her palm. She dropped it. The brass clattered against the platform, rolling to a stop at the woman’s feet. “A Veil Compass.” The woman crouched, plucking it from the ground. “How… *quaint*.” The thing from the corpse’s chest unfolded itself. Tall. Too tall. Its limbs bent at impossible angles, its skin—if it could be called skin—shifting between solid and smoke, like a poorly tuned television. It had no face. Just a smooth, featureless expanse where one should have been. And then it *spoke*. The sound wasn’t a voice. It was a *vibration*, a frequency that made Harlow’s teeth ache, her bones hum. Davies clapped his hands over his ears, blood trickling from his nose. The woman sighed, as if disappointed. “Must you always be so *dramatic*?” She turned back to Harlow, holding out the compass. “He was a *courier*, Detective. A very naughty one. Stole something that didn’t belong to him.” Her gloved finger tapped the token in the victim’s mouth. “That’s the price of theft in the Veil Market.” Harlow’s gun was still raised, but her arm trembled. The thing from the darkness took a step toward Davies. He whimpered. “Call it off,” Harlow said. The woman tilted her head. “Or what? You’ll shoot me again?” She dropped the compass. It clattered between them. “Take it. You’ll need it.” The darkness lunged. Davies screamed. Harlow fired. This time, the bullet found purchase—not in the woman, but in the *thing* behind her. It shrieked, the sound ripping through the station like a blade, and the darkness *recoiled*, writhing. The woman tsked, stepping back as the creature thrashed, its form unraveling like burnt film. “You’ve just made things *so* much more interesting.” She reached into her coat. When her hand emerged, she held a small, stoppered vial. The liquid inside pulsed with the same sickly green light as the tokens. “Give the Chief Superintendent my regards.” She tossed the vial. Harlow dove. Glass shattered. The liquid hissed as it hit the ground, eating through the concrete like acid. The woman was gone. The thing was gone. Only Davies’ ragged breathing and the acrid stench of whatever had been in that vial remained. And the compass, still spinning on the ground, its needle pointing toward the tunnel. Toward Camden Lock. Harlow holstered her weapon. Her hands were steady now. She picked up the compass, slipping it back into her pocket. Davies was on his knees, hyperventilating, his radio still crackling with panicked voices. She crouched beside him. “Davies.” He didn’t look at her. “Davies,” she said again, sharper this time. “We’re leaving. Now.” His head snapped up. “We can’t just—” “We can.” She grabbed his arm, hauling him to his feet. “And we will.” The torchlight flickered again. Somewhere in the tunnel, something *chittered*. Harlow didn’t look back. She never did.
created_at"2026-02-20T14:16:56.577Z" 2/20/2026, 2:16:56 PM
model"mistralai/mistral-medium-3.1" 3/1/2001, 12:00:00 AM
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency592
moderation_latency(null)
generation_time40549
tokens_prompt4671
tokens_completion2889
native_tokens_prompt4322
native_tokens_completion2537
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"
usage0.0068028
router(null)
provider_responses
0
endpoint_id"13c5002b-8c5b-490c-8a5f-52ec0242804f"
id"3c78dff710084197a6d0c45c76ca108e"
is_byokfalse
latency592
model_permaslug"mistralai/mistral-medium-3.1" 3/1/2001, 12:00:00 AM
provider_name"Mistral"
status200
api_type"completions"
id"gen-1771597016-Wzg6KHxXsIBQn1lAP3Bn"
upstream_id"3c78dff710084197a6d0c45c76ca108e"
total_cost0.0068028
cache_discount(null)
upstream_inference_cost0
provider_name"Mistral"

Evaluation details

Result Evaluator Details Meta Data
77.55% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags14
adverbTagCount3
adverbTags
0"She stepped back [back]"
1"She turned back [back]"
2"she said again [again]"
dialogueSentences49
tagDensity0.286
leniency0.571
rawRatio0.214
effectiveRatio0.122
94.29% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1752
totalAiIsmAdverbs2
found
0
adverb"slightly"
count1
1
adverb"very"
count1
highlights
0"slightly"
1"very"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
57.19% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1752
totalAiIsms15
found
0
word"gloom"
count1
1
word"stomach"
count1
2
word"traced"
count1
3
word"etched"
count2
4
word"shimmered"
count1
5
word"pulsed"
count2
6
word"flickered"
count2
7
word"tracing"
count1
8
word"echoed"
count1
9
word"trembled"
count1
10
word"unraveling"
count1
11
word"shattered"
count1
highlights
0"gloom"
1"stomach"
2"traced"
3"etched"
4"shimmered"
5"pulsed"
6"flickered"
7"tracing"
8"echoed"
9"trembled"
10"unraveling"
11"shattered"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences166
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences166
filterMatches
0"watch"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences202
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen31
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans37
markdownWords57
totalWords1739
ratio0.033
matches
0"that"
1"should"
2"absence"
3"stopped"
4"decided"
5"licked"
6"real"
7"warped"
8"Too many fingers."
9"screamed"
10"burned"
11"message"
12"space"
13"pulsed"
14"physically bent"
15"ping"
16"glowed"
17"“—all units, be advised, we’ve got a 10-99 at Camden Lock. Multiple casualties, possible occult activity—”"
18"distraction"
19"clicked"
20"ripped"
21"he"
22"fuck"
23"split open"
24"darkness"
25"fingers"
26"passed through"
27"moved"
28"quaint"
29"spoke"
30"vibration"
31"dramatic"
32"courier"
33"thing"
34"recoiled"
35"so"
36"chittered"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions44
wordCount1427
uniqueNames9
maxNameDensity1.47
worstName"Harlow"
maxWindowNameDensity3
worstWindowName"Harlow"
discoveredNames
Quinn1
Tube2
Harlow21
Davies15
Greek1
Bristol1
Mayfair1
Camden1
Lock1
persons
0"Quinn"
1"Harlow"
2"Davies"
places
0"Bristol"
1"Mayfair"
2"Camden"
globalScore0.764
windowScore0.667
64.77% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences88
glossingSentenceCount3
matches
0"quite fear, wasn’t quite surprise—something older, something that made her stomach clench"
1"quite surprise—something older, something that made her stomach clench"
2"as if fighting against an unseen force, then snapped back into place with an audible *ping"
3"coat that seemed to drink the torchlight, her face obscured by a wide-brimmed hat"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords2.3
wordCount1739
matches
0"not at the body, but at the warped concrete"
1"not with blood, not with gore, but with *darkness*, thick"
2"not with gore, but with *darkness*, thick"
3"not in the woman, but in the *thing* behind her"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences202
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs84
mean20.7
std19.8
cv0.956
sampleLengths
047
134
263
32
43
581
622
729
81
915
1016
1145
1235
1325
1470
154
166
1786
183
191
2028
2122
2214
2318
241
253
2651
277
2842
296
3019
3117
326
3330
341
3541
366
3734
389
395
4049
4129
4227
4311
4411
4539
466
476
4840
497
88.35% Passive voice overuse
Target: ≤2% passive sentences
passiveCount8
totalSentences166
matches
0"was frozen"
1"was *warped"
2"was aimed"
3"were parted"
4"were *burned"
5"were made"
6"was gone"
7"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs254
matches
0"was standing"
1"was watching"
2"was screaming"
1.41% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount13
semicolonCount0
flaggedSentences10
totalSentences202
ratio0.05
matches
0"The air smelled wrong—like burnt copper and something older, something that had no business lingering in the abandoned Tube station’s stale darkness."
1"The corpse—if it could still be called that—lay sprawled across the tracks, limbs splayed at unnatural angles."
2"His face was frozen in an expression that wasn’t quite fear, wasn’t quite surprise—something older, something that made her stomach clench."
3"And the air—thick, humid, like the breath of something vast and patient."
4"The torchlight caught something on the wall—a symbol, carved into the tile with precise, deliberate strokes."
5"These weren’t etched—they were *burned* into the bone, as if branded."
6"And then the tokens—both of them—*glowed*."
7"The bullet struck the woman’s shoulder—or should have."
8"Its limbs bent at impossible angles, its skin—if it could be called skin—shifting between solid and smoke, like a poorly tuned television."
9"This time, the bullet found purchase—not in the woman, but in the *thing* behind her."
94.77% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount609
adjectiveStacks0
stackExamples(empty)
adverbCount28
adverbRatio0.04597701149425287
lyAdverbCount4
lyAdverbRatio0.006568144499178982
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences202
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences202
mean8.61
std6.77
cv0.787
sampleLengths
017
18
222
318
410
56
612
717
85
917
107
115
122
133
1416
1512
1611
1721
1821
1917
205
215
2224
231
2412
253
265
273
288
2918
3018
319
324
333
3419
359
365
3720
387
394
402
4125
4212
4320
444
456
4616
472
482
492
47.36% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.31683168316831684
totalSentences202
uniqueOpeners64
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount9
totalSentences142
matches
0"Just the faintest imprint of"
1"Instead, she followed the beam"
2"*Too many fingers.*"
3"Then, with a sound like"
4"Too many joints."
5"Too many *fingers*."
6"Instead, it *passed through*, as"
7"Just a smooth, featureless expanse"
8"Somewhere in the tunnel, something"
ratio0.063
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount37
totalSentences142
matches
0"His torch cast jagged shadows"
1"It was in the *absence*."
2"She crouched, the leather of"
3"His face was frozen in"
4"He jerked his chin toward"
5"She already had."
6"She didn’t touch it."
7"She turned her back on"
8"He was standing over the"
9"She stepped back toward the"
10"She was too busy watching"
11"She reached into her coat."
12"Her fingers closed around the"
13"His breath hitched."
14"Her ears popped."
15"She was tall, draped in"
16"She stepped forward, and the"
17"She was too busy watching"
18"She dropped it."
19"Its limbs bent at impossible"
ratio0.261
69.15% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount111
totalSentences142
matches
0"The brass compass needle twitched"
1"Harlow Quinn’s fingers tightened around"
2"The air smelled wrong—like burnt"
3"Davies didn’t look up from"
4"His torch cast jagged shadows"
5"Harlow ignored him, stepping over"
6"The beam of her own"
7"The corpse—if it could still"
8"It was in the *absence*."
9"She crouched, the leather of"
10"The victim’s clothes were intact,"
11"A man in his late"
12"His face was frozen in"
13"Harlow’s voice was steady, but"
14"The needle hadn’t stopped trembling."
15"Davies flipped his notebook shut."
16"He jerked his chin toward"
17"Harlow didn’t need to look."
18"She already had."
19"Davies pulled a evidence bag"
ratio0.782
35.21% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences142
matches
0"Where something was watching them"
ratio0.007
19.23% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences52
technicalSentenceCount9
matches
0"The air smelled wrong—like burnt copper and something older, something that had no business lingering in the abandoned Tube station’s stale darkness."
1"His face was frozen in an expression that wasn’t quite fear, wasn’t quite surprise—something older, something that made her stomach clench."
2"The compass needle bent, *physically bent*, as if fighting against an unseen force, then snapped back into place with an audible *ping*."
3"A sickly, greenish light seeped from the victim’s mouth, tracing the sigil on the wall, then snaking along the tracks toward the tunnel."
4"She was tall, draped in a coat that seemed to drink the torchlight, her face obscured by a wide-brimmed hat."
5"It was a *vibration*, a frequency that made Harlow’s teeth ache, her bones hum."
6"The woman tsked, stepping back as the creature thrashed, its form unraveling like burnt film."
7"And the compass, still spinning on the ground, its needle pointing toward the tunnel."
8"Davies was on his knees, hyperventilating, his radio still crackling with panicked voices."
89.29% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags14
uselessAdditionCount1
matches
0"She stepped, and the air *ripped*, like fabric tearing, the sound raw and wet"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags2
fancyCount0
fancyTags(empty)
dialogueSentences49
tagDensity0.041
leniency0.082
rawRatio0
effectiveRatio0
80.1752%