Run: 2026-02-20-01KHY7M8BX466RY9WCX6GYGGTG

Run Details

Duration:
14.7s
Cost:
$0.001064
Provider:
Mistral

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction 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="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</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 literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. 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 to *The Raven’s Nest* swung open with a *clang* of brass hinges, and the sudden gust of cold air carried the scent of stale whiskey and something sharper—ozone, like the moment before a storm breaks. Rory Carter froze mid-step, her fingers tightening around the handle of the delivery bag she’d just dropped off at Golden Empress. The bag’s contents—two cartons of *char siu* pork—thudded against her ribs, a silent reminder of the life she’d built here, one meal at a time. Then she saw him. Silas Blackwood stood at the bar, his back to her, one hand braced against the polished mahogany. The dim light from the neon sign outside spilled through the grimy windows, casting his silhouette in jagged gold. He wasn’t just older—he was *carved* by time. The auburn in his hair had bled into silver, his beard now a meticulous, salt-and-pepper frame around a face that looked like it had been weathered by something worse than years. His left leg gave a slight hitch as he turned, just enough to reveal the limp she’d forgotten about. “Evening, Rory.” His voice was the same—low, measured, the kind that could carry a room without raising its pitch. But the way he said it, like she was a half-forgotten debt, made her stomach twist. She swallowed. “Silas.” A beat. The air between them thickened, charged with the kind of silence that only comes when two people have spent years pretending not to notice the weight of what they’ve left unsaid. He didn’t move toward her. Didn’t invite her closer. Just stood there, his signet ring catching the light as he lifted a glass of something amber and dark. “You look well.” She should’ve laughed. Should’ve said something sharp, something that would make him flinch. But the words stuck in her throat. Instead, she let her gaze drift over him—the way his shirt sleeves were rolled to the elbows, the faint scar tissue along his jawline, the way his fingers curled around the glass like he was holding onto something fragile. “You’re still here,” she said finally. “So are you.” The words hung between them, brittle as old paper. She exhaled through her nose, a sound she didn’t even realise she was making. “I didn’t know you were back.” “Retired.” He took a slow sip. “Just passing through.” “London’s not exactly passing through.” His lips twitched, almost a smile. “No. It’s not.” A silence settled, heavier this time. Rory’s fingers twitched toward the scar on her wrist—the one from the time she’d burned herself trying to save a kitten from a fire escape. She flexed them, nails digging into her palm. “You look like you’ve been through a war.” Silas’s eyes flicked to her hand, then back to her face. “Something like that.” She should’ve walked away. Should’ve told him she had a delivery to finish, that she didn’t have time for this, for *him*. But the way he stood there, so still, so *present*, made her feet rooted to the spot. “You always were good at disappearing,” he said. “And you were always good at not letting go.” His gaze darkened. “That’s not how I remember it.” “Isn’t it?” She stepped closer, just enough to break the distance between them. Close enough to see the flecks of gold in his hazel eyes, close enough to smell the faintest hint of pipe tobacco on his breath. “You left me, Silas. Just like that.” He didn’t deny it. Just raised his glass. “Drink?” She hesitated. Then, because she was an idiot who’d spent too many nights alone with only her own company for company, she said, “Why not.” He slid a stool toward her, the wood groaning under her weight as she sat. The bar between them felt like a chasm now, but the space was intimate, the kind that only comes when two people have spent years knowing each other’s rhythms, their silences, the way one could finish the other’s sentences without ever saying a word. “You look like hell,” she said. Silas didn’t flinch. “And you look like you’ve been running.” She opened her mouth to argue, but the words died on her lips. Because he was right. She had been running. From Evan, from Cardiff, from the life she’d almost chosen, from the woman she’d been before she’d learned how to harden her edges. “You always did have a way with words,” she said instead. His laugh was low, rough. “And you always did have a way with *not* saying them.” The bartender—a gaunt man with a face like a carved walnut—appeared beside them, sliding a glass of something dark and smoky in front of Rory. “On the house,” he muttered, already turning away. Rory took a sip. The liquor burned, but it was good—something expensive, something she couldn’t afford. She set the glass down. “What’s this?” “A reminder of better days.” She looked at him. Really looked. The lines around his eyes were deeper now, his skin thinner, like paper stretched too tight over bone. “You’re not the same man who walked out of my life.” “No.” He swirled his drink. “I’m not.” “Good.” She said it without thinking, without meaning to. But the way his eyebrows lifted, just slightly, told her she’d hit something. “I mean—” She cut herself off. “You’re not the same *kind* of man.” Silas’s gaze flicked to her, sharp as a blade. “And what kind of man are you, Rory?” The question hung between them, heavy as the silence. She could lie. She could tell him she was fine, that she’d built a life, that she didn’t need him. But the truth was, she was tired. Tired of pretending, tired of the way her hands shook when she thought about the future, tired of the way she still woke up in the middle of the night, her skin prickling with the memory of Evan’s voice, low and threatening. “I’m the kind of man who doesn’t leave,” she said. Silas’s lips pressed into a thin line. “You’re not a man.” “No.” She shook her head. “I’m not.” He studied her for a long moment, his gaze lingering on her mouth, her hands, the way her fingers tapped restlessly against the bar. Then, slowly, he set his glass down. “You should’ve come to me.” “And what would you have done?” She laughed, sharp and bitter. “Sent me a postcard? Told me to ‘pull myself together’?” “No.” His voice was quiet, dangerous. “I would’ve helped you.” She wanted to believe him. God, she wanted to. But the years between them were a chasm, and no amount of wishing could bridge it. “You left me, Silas. You left *everyone*.” His jaw tightened. “I had my reasons.” “And I had mine.” She leaned forward, her elbows on the bar. “I didn’t want to be like my mother. I didn’t want to be like *you*.” Silas’s breath hitched. For a second, she thought he was going to reach for her. But then he just looked away, his fingers curling into fists on the bar. “You think I wanted this?” “What?” “This.” He gestured vaguely at the bar, at the city outside the window, at the life he’d built here, one careful step at a time. “I thought I could walk away. Thought I could just… stop.” Rory’s chest ached. She knew what that felt like. The way your body remembers the shape of something even when your mind has tried to forget it. “You couldn’t.” “No.” His voice was rough. “I couldn’t.” The bartender reappeared, sliding a plate of olives toward Silas. “You’re back for good?” Silas didn’t look at him. “No.” “Then why the hell are you here?” Silas met Rory’s eyes. “Because some debts don’t go away.” She should’ve walked away then. Should’ve told him she had a life, that she didn’t need this, didn’t need *him*. But the way he looked at her, like she was the only thing in the room that mattered, made her stay. “What do you want, Rory?” he asked. She opened her mouth. Closed it. Then, because she couldn’t lie to him anymore, she said, “I want to know why.” “Why what?” “Why you left.” She said it softly, but the words carried, sharp and clear. “Why you just… walked away.” Silas’s fingers tightened around his glass. For a long moment, he didn’t answer. Then, quietly, he said, “Because I was afraid.” Rory’s breath caught. “Afraid of what?” “Of losing you.” His voice was barely a whisper. “Of losing *everything*.” She wanted to reach for him. Wanted to pull him close and never let go. But the years between them were a chasm, and no amount of wishing could bridge it. “You lost me anyway,” she said. Silas’s gaze darkened. “No. I didn’t.” She wanted to believe him. God, she wanted to. But the truth was, she was tired. Tired of pretending, tired of the way her hands shook when she thought about the future, tired of the way she still woke up in the middle of the night, her skin prickling with the memory of Evan’s voice, low and threatening. “You should’ve come back,” she said. Silas’s lips pressed into a thin line. “I will.” She didn’t know if he meant it. Didn’t know if she believed him. But for the first time in years, she didn’t feel so alone. The bartender cleared his throat. “You two done here, or should I start charging?” Silas’s gaze flicked to him, then back to Rory. “No. We’re not done.” She should’ve walked away. Should’ve told him she had a life, that she didn’t need this, didn’t need *him*. But the way he looked at her, like she was the only thing in the room that mattered, made her stay. “What now?” she asked. Silas took a slow breath. Then, quietly, he said, “Now we finish what we started.” Rory’s heart pounded. She didn’t know what that meant. Didn’t know what to expect. But for the first time in years, she didn’t feel so alone. The bartender slid a key across the bar. “Back room’s yours.” Silas picked it up, his fingers brushing hers. “Thank you.” She didn’t look away. Didn’t pull her hand back. Just let the weight of the moment settle between them, heavy and inevitable. “You sure about this?” she asked. Silas’s gaze locked onto hers. “More sure than I’ve been in a long time.” She should’ve walked away. Should’ve told him she had a life, that she didn’t need this, didn’t need *him*. But the way he looked at her, like she was the only thing in the room that mattered, made her stay. “Then let’s go,” she said. Silas stood, his limp more pronounced now, his movements slower. But his gaze never wavered from hers. “After you.” She took a step toward the hidden door, the one she’d never noticed before, the one that led to the secret room at the back of the bar. The door clicked open, revealing darkness beyond. Silas followed her inside, the key disappearing into his pocket. The door swung shut behind them, sealing them in the space between what was and what could be. Rory’s breath hitched. She could feel the weight of the past pressing down on her, could hear the echoes of the years they’d spent apart, could taste the salt of the tears she’d never let herself cry. Silas stepped closer, his hand brushing against hers. “We’re going to be okay,” he said. She wanted to believe him. Wanted to believe that this was the beginning of something, that this was the moment everything changed. But the truth was, she didn’t know. Didn’t know if she could trust him, didn’t know if she could trust herself. “Are you sure about this?” she asked again. Silas’s gaze locked onto hers. “More sure than I’ve been in a long time.” She should’ve walked away. Should’ve told him she had a life, that she didn’t need this, didn’t need *him*. But the way he looked at her, like she was the only thing in the room that mattered, made her stay. “Then let’s go,” she said. Silas reached for her hand. His fingers curled around hers, warm and steady. “After you.” She took a step forward, into the darkness. Into the unknown. And for the first time in years, she didn’t feel so alone.
created_at"2026-02-20T19:15:04.723Z" 2/20/2026, 7:15:04 PM
model"mistralai/ministral-8b-2512"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency281
moderation_latency(null)
generation_time14417
tokens_prompt4618
tokens_completion3263
native_tokens_prompt4274
native_tokens_completion2822
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"
usage0.0010644
router(null)
provider_responses
0
endpoint_id"c85d26e1-1e0c-449b-9775-2afce7ae510b"
id"ec1ec334fde441958d32ea981510e529"
is_byokfalse
latency281
model_permaslug"mistralai/ministral-8b-2512"
provider_name"Mistral"
status200
api_type"completions"
id"gen-1771614904-A9VuZyz2tKK2y3V4t3xc"
upstream_id"ec1ec334fde441958d32ea981510e529"
total_cost0.0010644
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
totalTags29
adverbTagCount4
adverbTags
0"she said finally [finally]"
1"she said instead [instead]"
2"He gestured vaguely [vaguely]"
3"she asked again [again]"
dialogueSentences85
tagDensity0.341
leniency0.682
rawRatio0.138
effectiveRatio0.094
90.38% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2079
totalAiIsmAdverbs4
found
0
adverb"really"
count1
1
adverb"slightly"
count1
2
adverb"slowly"
count1
3
adverb"softly"
count1
highlights
0"really"
1"slightly"
2"slowly"
3"softly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
54.30% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2079
totalAiIsms19
found
0
word"reminder"
count2
1
word"measured"
count1
2
word"stomach"
count1
3
word"charged"
count1
4
word"silence"
count3
5
word"weight"
count4
6
word"flicked"
count3
7
word"whisper"
count1
8
word"wavered"
count1
9
word"could feel"
count1
10
word"echoes"
count1
highlights
0"reminder"
1"measured"
2"stomach"
3"charged"
4"silence"
5"weight"
6"flicked"
7"whisper"
8"wavered"
9"could feel"
10"echoes"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"weight of words/silence"
count1
highlights
0"the weight of the moment"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences167
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences167
filterMatches(empty)
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences220
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans15
markdownWords18
totalWords2065
ratio0.009
matches
0"The Raven’s Nest"
1"clang"
2"char siu"
3"carved"
4"him"
5"present"
6"not"
7"kind"
8"everyone"
9"you"
10"him"
11"everything"
12"him"
13"him"
14"him"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions39
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions52
wordCount1692
uniqueNames12
maxNameDensity1.24
worstName"Silas"
maxWindowNameDensity2.5
worstWindowName"Silas"
discoveredNames
Raven1
Carter1
Golden1
Empress1
Blackwood1
Close1
Silas21
Evan3
Cardiff1
Rory10
Didn5
Should6
persons
0"Carter"
1"Blackwood"
2"Silas"
3"Evan"
4"Rory"
5"Should"
places
0"Raven"
1"Golden"
2"Cardiff"
globalScore0.879
windowScore0.833
43.62% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences94
glossingSentenceCount4
matches
0"looked like it had been weathered by some"
1"felt like a chasm now, but the space wa"
2"appeared beside them, sliding a glass of something dark and smoky in front of Rory"
3"felt like"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2065
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences220
matches
0"finish, that she"
1"believe that this"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs100
mean20.65
std17.88
cv0.866
sampleLengths
01
183
24
394
42
533
63
733
831
959
106
113
1229
139
145
159
1647
1714
1839
198
209
219
2245
239
2425
2559
266
2710
2844
2911
3016
3133
3223
335
3435
357
3635
3717
3878
3910
4011
417
4236
4321
4410
4532
467
4727
4834
491
98.96% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences167
matches
0"was *carved"
1"been weathered"
2"were rolled"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs320
matches
0"was holding"
1"was making"
38.96% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount10
semicolonCount0
flaggedSentences8
totalSentences220
ratio0.036
matches
0"The door to *The Raven’s Nest* swung open with a *clang* of brass hinges, and the sudden gust of cold air carried the scent of stale whiskey and something sharper—ozone, like the moment before a storm breaks."
1"The bag’s contents—two cartons of *char siu* pork—thudded against her ribs, a silent reminder of the life she’d built here, one meal at a time."
2"He wasn’t just older—he was *carved* by time."
3"His voice was the same—low, measured, the kind that could carry a room without raising its pitch."
4"Instead, she let her gaze drift over him—the way his shirt sleeves were rolled to the elbows, the faint scar tissue along his jawline, the way his fingers curled around the glass like he was holding onto something fragile."
5"Rory’s fingers twitched toward the scar on her wrist—the one from the time she’d burned herself trying to save a kitten from a fire escape."
6"The bartender—a gaunt man with a face like a carved walnut—appeared beside them, sliding a glass of something dark and smoky in front of Rory."
7"The liquor burned, but it was good—something expensive, something she couldn’t afford."
99.12% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1707
adjectiveStacks0
stackExamples(empty)
adverbCount70
adverbRatio0.041007615700058585
lyAdverbCount17
lyAdverbRatio0.00995899238429994
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences220
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences220
mean9.38
std8.04
cv0.857
sampleLengths
037
121
225
34
417
519
68
731
819
92
1017
1116
122
131
142
1531
165
174
1819
193
203
2110
227
2339
246
253
269
2714
286
296
303
315
326
333
346
3525
368
378
3811
393
404
4118
4217
438
449
453
466
4713
4825
497
48.18% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats4
diversityRatio0.22272727272727272
totalSentences220
uniqueOpeners49
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount10
totalSentences151
matches
0"Then she saw him."
1"Just stood there, his signet"
2"Instead, she let her gaze"
3"Just raised his glass."
4"Then, because she was an"
5"Then, slowly, he set his"
6"Then, because she couldn’t lie"
7"Then, quietly, he said,"
8"Then, quietly, he said,"
9"Just let the weight of"
ratio0.066
74.30% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount55
totalSentences151
matches
0"He wasn’t just older—he was"
1"His left leg gave a"
2"His voice was the same—low,"
3"He didn’t move toward her."
4"She should’ve laughed."
5"she said finally"
6"She exhaled through her nose,"
7"He took a slow sip"
8"His lips twitched, almost a"
9"She flexed them, nails digging"
10"She should’ve walked away."
11"His gaze darkened."
12"She stepped closer, just enough"
13"He didn’t deny it."
14"He slid a stool toward"
15"She opened her mouth to"
16"She had been running."
17"she said instead"
18"His laugh was low, rough."
19"he muttered, already turning away"
ratio0.364
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount102
totalSentences151
matches
0"The door to *The Raven’s"
1"Rory Carter froze mid-step, her"
2"The bag’s contents—two cartons of"
3"Silas Blackwood stood at the"
4"The dim light from the"
5"He wasn’t just older—he was"
6"The auburn in his hair"
7"His left leg gave a"
8"His voice was the same—low,"
9"The air between them thickened,"
10"He didn’t move toward her."
11"She should’ve laughed."
12"she said finally"
13"The words hung between them,"
14"She exhaled through her nose,"
15"He took a slow sip"
16"His lips twitched, almost a"
17"A silence settled, heavier this"
18"Rory’s fingers twitched toward the"
19"She flexed them, nails digging"
ratio0.675
33.11% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences151
matches
0"Because he was right."
ratio0.007
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences56
technicalSentenceCount2
matches
0"The auburn in his hair had bled into silver, his beard now a meticulous, salt-and-pepper frame around a face that looked like it had been weathered by something…"
1"Should’ve said something sharp, something that would make him flinch."
90.52% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags29
uselessAdditionCount2
matches
0"She said, without meaning to"
1"She said, but the words carried, sharp and clear"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags21
fancyCount2
fancyTags
0"he muttered (mutter)"
1"She laughed (laugh)"
dialogueSentences85
tagDensity0.247
leniency0.494
rawRatio0.095
effectiveRatio0.047
88.4930%