Run: 2026-02-20-01KHY8XYP5KDM4D2MEHFZ2DH99

Run Details

Duration:
19.1s
Cost:
$0.001145
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 creaked open before the deadbolt could even click into place, swinging inward with a force that sent the framed poster of *The Great Wave off Kanagawa* crashing to the floor. Glass shattered like a scream, and the scent of burnt wiring filled the air as the light flickered—once, twice—before plunging the flat into darkness. "Fucking *brilliant* timing," a voice hissed, sharp as a blade dragged across a table. "You could’ve at least warned me you were bringing a live wire." A hand—cold, calloused—closed around Rory’s wrist, yanking her back just as the ceiling light exploded in a shower of sparks. The flat smelled like ozone and old sweat, the kind that clung to someone who’d been running for hours. "Lucien," she breathed, voice rough with something between relief and irritation. "You’re *not* supposed to be here." His fingers tightened, not in pain, but in warning. "Neither are you." The words hung between them, heavy as the weight of the cane he’d dropped beside the door. It lay there, ivory handle gleaming under the dim glow of the streetlight filtering through the broken window, the blade inside it catching the light like a promise. "You’ve got five minutes," he said, voice low, measured. "Then I’m leaving. And you’re coming with me." Rory’s pulse hammered in her throat. She should’ve known better than to assume he’d stay away. Should’ve known he’d show up like this—unannounced, unapologetic, with that same infuriating certainty that he could walk into any room and own it. "Five minutes for what?" she demanded, jerking her wrist free. "A lecture? A lecture about *not* breaking into my flat?" His lips twitched, just once, like he was fighting a smile. "No. A lecture about *not* being an idiot." She stepped back, putting space between them, but the flat was too small. The air between them crackled, thick with the kind of tension that didn’t need words. "You’re the idiot," she shot back. "You’re the one who *let* me think you’d moved on." Lucien exhaled through his nose, a sound that was almost a laugh. "Darling, I *never* move on." His gaze flicked to the mess around them—the shattered frame, the flickering lights, the way her breath came a little too fast. "But you? You’re the one who decided to play hero." Rory’s fingers twitched at her sides. "I didn’t—" "Don’t." His voice cut through her. "Don’t lie to me. I know what you did. I know you went to Eva’s. I know you *told* her." The name hung in the air like a curse. Eva. Her childhood friend. The one person Rory had trusted enough to spill everything—about the night Evan had broken her wrist, about the way he’d made her feel like she was nothing but a mistake. About the way she’d run, and how she’d never looked back. Lucien’s jaw tightened. "You think she’s the only one who can fix things?" Rory’s chest ached. "She’s the only one who *listens*." "She’s the only one who *understands*?" His voice dropped, sharp as broken glass. "Or is that just because she’s the only one who’s ever *seen* you cry?" The words hit like a punch to the gut. She swallowed hard, her throat tight. "That’s not—" "Isn’t it?" He took a step closer, close enough that she could see the faint scar along his jawline, the one she’d never asked about. "You think I don’t know what it’s like to have someone you trust turn on you? To have them *betray* you?" Rory’s breath hitched. She knew that look. Knew the way his eyes darkened, the way his voice dropped to something raw and dangerous. She’d seen it before—the night he’d walked into the Golden Empress, the night he’d saved her from Evan’s wrath. The night he’d kissed her like he was drowning and she was the only air left in the world. And then he’d left. Just like that. No explanation. No goodbye. Just silence. And now he was back, standing in her flat, breathing the same air as her, like he’d never left at all. "Lucien," she whispered, her voice breaking. "What do you want from me?" His gaze locked onto hers, unflinching. "The truth." She should’ve known better than to ask. --- The flat smelled like old books and cheap whiskey, the kind Eva kept in the back of her cupboard for "emergencies." Rory had spent half the night curled on the floor, Ptolemy the cat curled against her side like a living shield, while Eva had paced back and forth, muttering about "foolish girls and reckless men." Lucien had been the reckless one that night. The night he’d shown up at the Golden Empress, his cane propped against the counter like a threat, his suit rumpled like he’d been running. He’d found her in the back, wiping down the tables, her hands shaking from the adrenaline of the day’s deliveries. He’d told her Evan was looking for her. That he’d been asking questions. That he wasn’t just some ex—he was dangerous. And then he’d kissed her. Not like a goodbye. Not like a hello. Like a promise. And when he’d pulled back, his lips swollen, his breath hot against her skin, he’d said three words that had shattered her: *"You’re mine."* She’d laughed. A sharp, bitter sound. "You don’t even know me." He’d smiled, slow and dangerous. "I know enough." And then he’d walked out, leaving her standing there, her heart pounding, her head spinning, her wrist still aching from the scar Evan had left. She’d run. --- Lucien’s voice cut through her memories like a blade. "You’re thinking too hard." Rory blinked, her fingers tightening around the edge of the counter. "I’m not—" "Liar." His voice was low, rough. "You’re always thinking. Always *planning*. But this? This is the one time you need to stop." She swallowed hard. "And do what?" He stepped closer, close enough that she could feel the heat of him, the way his presence filled the room like a promise. "Breathe." She didn’t. Instead, she met his gaze, her own eyes burning with something she couldn’t name. "You’re not here to save me." His lips quirked. "No. I’m here to *punish* you." Rory’s breath hitched. "For what?" "For trusting her." His voice dropped, low and dangerous. "For thinking she’s the only one who can fix you." She should’ve known better than to ask. --- The flat was a mess. Broken glass crunched underfoot, the scent of burnt wiring thick in the air. Rory’s fingers twitched, her pulse hammering in her throat. "You could’ve at least warned me you were bringing a live wire." Lucien’s lips twitched. "I prefer to keep my surprises." She exhaled sharply, her fingers curling into fists. "You’re *not* supposed to be here." His gaze locked onto hers, unflinching. "Neither are you." The words hung between them, heavy as the weight of the cane he’d dropped beside the door. It lay there, ivory handle gleaming under the dim glow of the streetlight filtering through the broken window, the blade inside it catching the light like a promise. Rory’s breath hitched. She should’ve known better than to assume he’d stay away. Should’ve known he’d show up like this—unannounced, unapologetic, with that same infuriating certainty that he could walk into any room and own it. "You’ve got five minutes," he said, voice low, measured. "Then I’m leaving. And you’re coming with me." Rory’s fingers tightened around the edge of the counter. "Five minutes for what?" His gaze flicked to the mess around them—the shattered frame, the flickering lights, the way her breath came a little too fast. "A lecture about *not* being an idiot." She should’ve known better than to ask. --- The door creaked shut behind them, the sound echoing like a gunshot in the empty corridor. The flat above Silas’ bar was quiet, the kind of quiet that pressed against your skin like a second breath. Rory’s fingers trembled as she fumbled for the light switch, the flicker of the bulb casting long shadows across the walls. Lucien didn’t move. Didn’t speak. Just stood there, like a statue carved from stone and shadow, his gaze locked onto hers. Rory swallowed hard. "You’re not leaving." His lips twitched. "No." She exhaled sharply, her fingers curling into fists. "Why?" His gaze flicked to the cane propped against the door, the blade inside it catching the light like a promise. "Because you’re *mine*." The words hung between them, heavy as the weight of the past. And then he was moving, stepping closer, close enough that she could feel the heat of him, the way his presence filled the room like a promise. Rory’s breath hitched. "You don’t even know me." His lips quirked. "I know enough." And then he kissed her. Not like a goodbye. Not like a hello. Like a promise. And when he pulled back, his lips swollen, his breath hot against her skin, he said three words that had shattered her: *"You’re mine."* She should’ve known better than to ask. --- The kiss was over before it had really begun, his lips brushing hers like a ghost, his breath hot against her skin. Rory’s fingers twitched, her pulse hammering in her throat. Lucien stepped back, his gaze locking onto hers, unflinching. "You’re thinking too hard." She exhaled sharply, her fingers curling into fists. "I’m not—" "Liar." His voice was low, rough. "You’re always thinking. Always *planning*. But this? This is the one time you need to stop." Rory’s breath hitched. "And do what?" He stepped closer, close enough that she could feel the heat of him, the way his presence filled the room like a promise. "Breathe." She didn’t. Instead, she met his gaze, her own eyes burning with something she couldn’t name. "You’re not here to save me." His lips quirked. "No. I’m here to *punish* you." Rory’s breath hitched. "For what?" "For trusting her." His voice dropped, low and dangerous. "For thinking she’s the only one who can fix you." She should’ve known better than to ask. --- The flat was a mess. Broken glass crunched underfoot, the scent of burnt wiring thick in the air. Rory’s fingers trembled as she fumbled for the light switch, the flicker of the bulb casting long shadows across the walls. Lucien didn’t move. Didn’t speak. Just stood there, like a statue carved from stone and shadow, his gaze locked onto hers. Rory exhaled sharply, her fingers curling into fists. "You’re not leaving." His lips twitched. "No." She swallowed hard. "Why?" His gaze flicked to the cane propped against the door, the blade inside it catching the light like a promise. "Because you’re *mine*." The words hung between them, heavy as the weight of the past. And then he was moving, stepping closer, close enough that she could feel the heat of him, the way his presence filled the room like a promise. Rory’s breath hitched. "You don’t even know me." His lips quirked. "I know enough." And then he kissed her. Not like a goodbye. Not like a hello. Like a promise. And when he pulled back, his lips swollen, his breath hot against her skin, he said three words that had shattered her: *"You’re mine."* She should’ve known better than to ask. --- The door slammed shut behind them, the sound echoing like a gunshot in the empty corridor. The flat above Silas’ bar was quiet, the kind of quiet that pressed against your skin like a second breath. Lucien’s voice cut through the silence, low and dangerous. "You’re coming with me." Rory’s fingers tightened around the edge of the counter. "Where?" His gaze locked onto hers, unflinching. "Somewhere safe." She exhaled sharply, her fingers curling into fists. "I don’t need—" "Shut up." His voice was low, rough. "You’re coming with me. Now." And then he was moving, stepping closer, close enough that she could feel the heat of him, the way his presence filled the room like a promise. Rory’s breath hitched. "You’re not the hero." His lips twitched. "No. I’m the *villain*." And then he kissed her again, his lips hot and demanding, his hands gripping her waist like he was afraid she’d disappear. When he pulled back, his breath hot against her skin, he said three words that had shattered her: *"You’re mine."* She should’ve known better than to ask. --- The flat was a mess. Broken glass crunched underfoot, the scent of burnt wiring thick in the air. Rory’s fingers trembled as she fumbled for the light switch, the flicker of the bulb casting long shadows across the walls. Lucien didn’t move. Didn’t speak. Just stood there, like a statue carved from stone and shadow, his gaze locked onto hers. Rory exhaled sharply, her fingers curling into fists. "You’re not leaving." His lips twitched. "No." She swallowed hard. "Why?" His gaze flicked to the cane propped against the door, the blade inside it catching the light like a promise. "Because you’re *mine*." The words hung between them, heavy as the weight of the past. And then he was moving, stepping closer, close enough that she could feel the heat of him, the way his presence filled the room like a promise. Rory’s breath hitched. "You don’t even know me." His lips quirked. "I know enough." And then he kissed her, his lips hot and demanding, his hands gripping her waist like he was afraid she’d disappear. When he pulled back, his breath hot against her skin, he said three words that had shattered her: *"You’re mine."* She should’ve known better than to ask. The door slammed shut behind them, the sound echoing like a gunshot in the empty corridor. The flat above Silas’ bar was quiet, the kind of quiet that pressed against your skin like a second breath. Lucien’s voice cut through the silence, low and dangerous. "You’re coming with me." Rory’s fingers tightened around the edge of the counter. "Where?" His gaze locked onto hers, unflinching. "Somewhere safe." She exhaled sharply, her fingers curling into fists. "I don’t need—" "Shut up." His voice was low, rough. "You’re coming with me. Now." And then he was moving, stepping closer, close enough that she could feel the heat of him, the way his presence filled the room like a promise. Rory’s breath hitched. "You’re not the hero." His lips twitched. "No. I’m the *villain*." And then he kissed her again, his lips hot and demanding, his hands gripping her waist like he was afraid she’d disappear. When he pulled back, his breath hot against her skin, he said three words that had shattered her: *"You’re mine."*
created_at"2026-02-20T19:37:51.066Z" 2/20/2026, 7:37:51 PM
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provider_name"Mistral"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags13
adverbTagCount0
adverbTags(empty)
dialogueSentences100
tagDensity0.13
leniency0.26
rawRatio0
effectiveRatio0
83.64% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2445
totalAiIsmAdverbs8
found
0
adverb"sharply"
count7
1
adverb"really"
count1
highlights
0"sharply"
1"really"
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)
1.84% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2445
totalAiIsms48
found
0
word"shattered"
count9
1
word"flickered"
count1
2
word"weight"
count5
3
word"gleaming"
count2
4
word"measured"
count2
5
word"pulse"
count3
6
word"tension"
count1
7
word"flicked"
count5
8
word"silence"
count3
9
word"pounding"
count1
10
word"could feel"
count7
11
word"echoing"
count3
12
word"trembled"
count3
13
word"flicker"
count3
highlights
0"shattered"
1"flickered"
2"weight"
3"gleaming"
4"measured"
5"pulse"
6"tension"
7"flicked"
8"silence"
9"pounding"
10"could feel"
11"echoing"
12"trembled"
13"flicker"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells3
narrationSentences185
matches
0"was afraid"
1"was afraid"
2"was afraid"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences185
filterMatches
0"feel"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences267
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen56
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans29
markdownWords39
totalWords2435
ratio0.016
matches
0"The Great Wave off Kanagawa"
1"brilliant"
2"not"
3"not"
4"not"
5"let"
6"never"
7"told"
8"listens"
9"understands"
10"seen"
11"betray"
12"\"You’re mine.\""
13"planning"
14"punish"
15"not"
16"not"
17"mine"
18"\"You’re mine.\""
19"planning"
20"punish"
21"mine"
22"\"You’re mine.\""
23"villain"
24"\"You’re mine.\""
25"mine"
26"\"You’re mine.\""
27"villain"
28"\"You’re mine.\""
88.24% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions34
unquotedAttributions5
matches
0"And when he pulled back, his lips swollen, his breath hot against her skin, he said three words that had shattered her:"
1"And when he pulled back, his lips swollen, his breath hot against her skin, he said three words that had shattered her:"
2"When he pulled back, his breath hot against her skin, he said three words that had shattered her:"
3"When he pulled back, his breath hot against her skin, he said three words that had shattered her:"
4"When he pulled back, his breath hot against her skin, he said three words that had shattered her:"
76.82% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions62
wordCount1913
uniqueNames12
maxNameDensity1.46
worstName"Rory"
maxWindowNameDensity2.5
worstWindowName"Rory"
discoveredNames
Great1
Wave1
Rory28
Lucien11
Evan4
Golden2
Empress2
Eva3
Ptolemy1
Like3
Broken3
Didn3
persons
0"Rory"
1"Lucien"
2"Evan"
3"Eva"
places
0"Golden"
1"Broken"
globalScore0.768
windowScore0.833
81.82% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences110
glossingSentenceCount3
matches
0"smelled like ozone and old sweat, the kind"
1"something between relief and irritation"
2"smelled like old books and cheap whiskey,"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.411
wordCount2435
matches
0"not in pain, but in warning"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences267
matches
0"knew that look"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs154
mean15.81
std14.99
cv0.948
sampleLengths
01
156
226
356
412
562
659
719
844
949
108
1126
1255
1313
149
1527
1617
1746
1861
194
203
214
222
2321
2412
258
267
271
2856
298
3066
315
328
333
3422
352
3611
378
3825
392
401
4113
4213
4322
446
4524
462
4720
489
495
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences185
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs340
matches
0"was fighting"
1"was drowning"
2"was looking"
46.55% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount11
semicolonCount0
flaggedSentences9
totalSentences267
ratio0.034
matches
0"Glass shattered like a scream, and the scent of burnt wiring filled the air as the light flickered—once, twice—before plunging the flat into darkness."
1"A hand—cold, calloused—closed around Rory’s wrist, yanking her back just as the ceiling light exploded in a shower of sparks."
2"Should’ve known he’d show up like this—unannounced, unapologetic, with that same infuriating certainty that he could walk into any room and own it."
3"\"Darling, I *never* move on.\" His gaze flicked to the mess around them—the shattered frame, the flickering lights, the way her breath came a little too fast."
4"The one person Rory had trusted enough to spill everything—about the night Evan had broken her wrist, about the way he’d made her feel like she was nothing but a mistake."
5"She’d seen it before—the night he’d walked into the Golden Empress, the night he’d saved her from Evan’s wrath."
6"That he wasn’t just some ex—he was dangerous."
7"Should’ve known he’d show up like this—unannounced, unapologetic, with that same infuriating certainty that he could walk into any room and own it."
8"His gaze flicked to the mess around them—the shattered frame, the flickering lights, the way her breath came a little too fast."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1086
adjectiveStacks0
stackExamples(empty)
adverbCount43
adverbRatio0.03959484346224678
lyAdverbCount3
lyAdverbRatio0.0027624309392265192
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences267
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences267
mean9.09
std7.95
cv0.875
sampleLengths
032
124
214
312
420
519
611
76
89
93
1017
1128
129
138
146
1510
1623
1710
1810
1911
208
2113
2215
236
2410
2512
2627
2710
286
292
306
3120
329
331
343
3531
3611
373
3810
393
406
4113
4214
439
446
452
4625
4721
483
494
44.01% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats16
diversityRatio0.1647940074906367
totalSentences267
uniqueOpeners44
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences174
matches
0"Just like that."
1"Instead, she met his gaze,"
2"Just stood there, like a"
3"Instead, she met his gaze,"
4"Just stood there, like a"
5"Just stood there, like a"
ratio0.034
68.28% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount66
totalSentences174
matches
0"she breathed, voice rough with"
1"His fingers tightened, not in"
2"It lay there, ivory handle"
3"he said, voice low, measured"
4"She should’ve known better than"
5"she demanded, jerking her wrist"
6"His lips twitched, just once,"
7"She stepped back, putting space"
8"she shot back"
9"His gaze flicked to the"
10"His voice cut through her"
11"Her childhood friend."
12"His voice dropped, sharp as"
13"She swallowed hard, her throat"
14"He took a step closer,"
15"She knew that look."
16"She’d seen it before—the night"
17"she whispered, her voice breaking"
18"His gaze locked onto hers,"
19"She should’ve known better than"
ratio0.379
80.69% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount132
totalSentences174
matches
0"The door creaked open before"
1"Glass shattered like a scream,"
2"a voice hissed, sharp as"
3"A hand—cold, calloused—closed around Rory’s"
4"The flat smelled like ozone"
5"she breathed, voice rough with"
6"His fingers tightened, not in"
7"The words hung between them,"
8"It lay there, ivory handle"
9"he said, voice low, measured"
10"Rory’s pulse hammered in her"
11"She should’ve known better than"
12"she demanded, jerking her wrist"
13"His lips twitched, just once,"
14"She stepped back, putting space"
15"The air between them crackled,"
16"she shot back"
17"Lucien exhaled through his nose,"
18"His gaze flicked to the"
19"Rory’s fingers twitched at her"
ratio0.759
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences174
matches(empty)
ratio0
42.41% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences64
technicalSentenceCount9
matches
0"The door creaked open before the deadbolt could even click into place, swinging inward with a force that sent the framed poster of *The Great Wave off Kanagawa*…"
1"He’d found her in the back, wiping down the tables, her hands shaking from the adrenaline of the day’s deliveries."
2"And when he’d pulled back, his lips swollen, his breath hot against her skin, he’d said three words that had shattered her:"
3"And then he’d walked out, leaving her standing there, her heart pounding, her head spinning, her wrist still aching from the scar Evan had left."
4"And when he pulled back, his lips swollen, his breath hot against her skin, he said three words that had shattered her:"
5"And when he pulled back, his lips swollen, his breath hot against her skin, he said three words that had shattered her:"
6"When he pulled back, his breath hot against her skin, he said three words that had shattered her:"
7"When he pulled back, his breath hot against her skin, he said three words that had shattered her:"
8"When he pulled back, his breath hot against her skin, he said three words that had shattered her:"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags13
uselessAdditionCount4
matches
0"she breathed, voice rough with something between relief and irritation"
1"he said, voice low, measured"
2"she whispered, her voice breaking"
3"he said, voice low, measured"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount4
fancyTags
0"a voice hissed (hiss)"
1"she breathed (breathe)"
2"she demanded (demand)"
3"she whispered (whisper)"
dialogueSentences100
tagDensity0.06
leniency0.12
rawRatio0.667
effectiveRatio0.08
80.4761%