Run: 2026-02-20-01KHY92FF9CD4Q9ZV8NT9VM5SW

Run Details

Duration:
15.6s
Cost:
$0.001040
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 damp wool and something sharper—like old whiskey and the faint metallic tang of a half-empty ashtray. Rory Carter froze mid-step, her fingers tightening around the handle of her delivery bag. The neon sign above the door flickered, casting a sickly green glow over the pavement, and for a heartbeat, she thought she’d imagined it. Then the voice cut through the hum of the street. *"Well, well. If it isn’t the little Irish lawyer."* The words slithered through the crowd like a knife between ribs. Rory’s breath hitched. She didn’t turn. Couldn’t. Not yet. The voice belonged to Evan O’Shea—Evan *Fucking* O’Shea—and if she spun around now, he’d see the way her pulse hammered at her throat, the way her hands trembled just enough to betray her. So she stood there, rigid as a statue, and let the door close behind her with a *thud* that echoed in her ribs. *"Rory?"* His voice was smoother now, polished with years of practice. The Evan she knew would’ve called her *Carter*, would’ve sneered at the way she’d ditched her suit for a delivery bag and a life that didn’t involve his kind of power. But this Evan—this man who stood just inside the bar’s dim glow, his broad shoulders filling the doorway—hadn’t aged well. Not the way she had. She exhaled through her nose, slow and controlled. *"Evan."* His lips curled, just slightly, like he’d been waiting for that. *"Still got the fire in you, I see."* He stepped back, gesturing to the bar like he owned the place. *"Or did you lose it along with the rest of your ambition?"* Rory’s fingers flexed around the bag’s strap. She should’ve known. Should’ve *seen* him coming. But Evan had always had a knack for showing up when she least expected it—like a bad habit you couldn’t shake. She set the bag down on the nearest table, her knuckles brushing the worn wood. *"What are you doing here?"* *"Business."* He leaned against the bar, his sleeve riding up to reveal a fresh scar—a thin, white line across his forearm. *"You?"* His gaze flicked to her wrist, to the scar she’d tried to hide under her sleeve. The one from the night she’d burned herself trying to escape him. *"Still running from things, I see."* Rory’s jaw tightened. She didn’t answer. Didn’t have to. The bar was thick with the kind of silence that only comes when two people are circling each other, both too proud to back down first. The bartender—a man with a face like a bulldog and a name tag that read *Silas*—paused mid-pour, his eyes flicking between them. Then he set the glass down with a *clink* and turned back to his work, but not before Rory caught the way his fingers twitched, like he was debating whether to intervene. Evan sighed, rolling his shoulders like he was bored. *"You look different."* *"So do you."* She kept her voice flat, but her pulse was a drumbeat in her ears. Different. That was the word he’d used. Like they were strangers now, like the years between them had carved out something unrecognisable. *"Time does that."* He smirked, but it didn’t reach his eyes. *"You still work for that Chinese bloke, then?"* *"Yu-Fei Cheung?"* She raised an eyebrow. *"You remember his name?"* *"I remember a lot of things."* His gaze dropped to her mouth, just for a second, before he looked away. *"You ever think about coming back? To the firm? I could use someone like you."* Rory laughed, sharp and bitter. *"You? Need me?"* *"I need *you*."* He leaned forward, his voice dropping to something quieter, more intimate. *"You always were good at bending rules."* The words hit her like a slap. She remembered that version of him—the one who’d promised her the world if she’d just stay quiet, just let him handle things. The one who’d made her feel like she was the only woman in the room, until she wasn’t. *"You’re married,"* she said, because it was the only thing she could think to say. The only thing that mattered. *"Divorced."* He shrugged, like it was nothing. *"Happens when you spend too much time chasing ghosts."* Rory’s stomach twisted. She knew that feeling. Silas cleared his throat from behind the bar. *"You two done here, or should I start charging for the air?"* Evan’s smirk returned, but this time it was directed at the bartender. *"Nah, nah. We’re just catching up."* He turned back to Rory, his voice dropping again. *"You ever think about what you left behind?"* She didn’t answer. Couldn’t. The air between them thickened, charged with something unspoken. The kind of thing that could ruin a person if they let it. Evan reached into his jacket, pulling out a small, leather-bound notebook. He flipped it open, revealing a page filled with neat, precise handwriting. *"I’ve been keeping track,"* he said. *"Of the people you’ve left behind. The cases you walked away from. The lives you didn’t save."* Rory’s breath caught. She knew that notebook. Had seen it once, years ago, when he’d thought she was just another intern, just another face in the crowd. But she’d read it then. Had memorised the names, the dates, the things he’d promised to fix if she’d just stay. *"You’re full of surprises,"* she said, her voice dangerously calm. *"So are you."* He slid the notebook across the table, the leather cool against her fingers. *"Page 47. The Carter case. The one you couldn’t close."* Rory’s pulse spiked. She knew that case. Had worked it for months, had come so close to the truth before Evan had pulled the rug out from under her, had made her look like the fool. She’d left it behind. Had left *him* behind. *"You’re lying,"* she said. *"Am I?"* He tilted his head, his eyes gleaming in the dim light. *"Or are you just afraid to look?"* The notebook was heavy in her hands. She could feel the weight of the words, the weight of the things she’d buried. Silas watched them from behind the bar, his expression unreadable, but his presence was a constant hum in the background, like a warning. Rory flipped to page 47. The words jumped off the page at her: *"Carter. You said you’d find her. You said you’d make it right. But you didn’t. And now she’s gone."* Her breath hitched. She knew that voice. Knew the name. *"Laila,"* she whispered. Evan’s smile was slow, triumphant. *"You still remember."* Rory’s hands shook. She remembered Laila Carter—her mother. The woman who’d raised her alone after Rory’s father had walked out. The woman who’d taught her everything she knew about fighting, about surviving. The woman who’d been *gone* for years. *"You knew,"* she said, her voice barely above a whisper. *"I knew."* Evan’s smile didn’t waver. *"And now you do too."* The notebook slipped from her fingers, landing with a *thud* on the table. Rory’s vision blurred. She could feel the blood roaring in her ears, could feel the way her body was betraying her, trembling like a leaf in the wind. Silas moved then, stepping between them, his hand resting on the hilt of the knife tucked into his belt. *"Enough."* Evan’s gaze flicked to the bartender, then back to Rory. *"You always were good at running,"* he said, his voice soft now, almost sad. *"But you can’t run forever."* The door to the bar’s secret room—hidden behind the bookshelf—creaked open on its own, as if summoned by the weight of the moment. The air inside the room was thick with the scent of old paper and something sharper, like gunpowder. Silas turned, his voice low. *"Get out."* Evan didn’t move. *"Not until she’s done."* Rory’s fingers curled into fists. She could feel the heat of his gaze on her, could feel the way her body was betraying her, trembling like a leaf in the wind. *"You’re not leaving,"* she said, her voice steady despite the storm inside her. *"Not until I know why."* Evan’s smile was slow, triumphant. *"Because some debts never die, Rory. And neither do the people who owe them."* The notebook lay between them, a silent accusation. Rory picked it up, her fingers brushing the leather. She could feel the weight of the words, the weight of the things she’d buried. *"You’re lying,"* she said again, but this time, her voice was stronger. *"You’re lying about my mother."* Evan’s smile faltered, just for a second. Then it was back, sharper, colder. *"Am I?"* Silas stepped forward, his voice a growl. *"Out."* Evan didn’t move. *"Not until she’s done."* Rory’s gaze flicked to the bartender, then back to Evan. *"Why?"* she demanded. *"Why now?"* *"Because time’s a bitch, Rory."* Evan’s voice was quiet, almost intimate. *"And she doesn’t care about your little rules."* The notebook slipped from her fingers, landing with a *thud* on the table. Rory’s vision blurred. She could feel the blood roaring in her ears, could feel the way her body was betraying her, trembling like a leaf in the wind. Silas moved then, stepping between them, his hand resting on the hilt of the knife tucked into his belt. *"Enough."* Evan’s gaze flicked to the bartender, then back to Rory. *"You always were good at running,"* he said, his voice soft now, almost sad. *"But you can’t run forever."* The door to the secret room creaked open on its own, as if summoned by the weight of the moment. The air inside was thick with the scent of old paper and something sharper, like gunpowder. Silas turned, his voice low. *"Get out."* Evan didn’t move. *"Not until she’s done."* Rory’s fingers curled into fists. She could feel the heat of his gaze on her, could feel the way her body was betraying her, trembling like a leaf in the wind. *"You’re not leaving,"* she said, her voice steady despite the storm inside her. *"Not until I know why."* Evan’s smile was slow, triumphant. *"Because some debts never die, Rory. And neither do the people who owe them."* The notebook lay between them, a silent accusation. Rory picked it up, her fingers brushing the leather. She could feel the weight of the words, the weight of the things she’d buried. *"You’re lying,"* she said again, but this time, her voice was stronger. *"You’re lying about my mother."* Evan’s smile faltered, just for a second. Then it was back, sharper, colder. *"Am I?"* Silas stepped forward, his voice a growl. *"Out."* The air in the bar seemed to thicken, like the moment had stretched taut, ready to snap. Rory’s breath came in short, sharp bursts. She could feel the way her body was betraying her, trembling like a leaf in the wind. *"Why?"* she demanded, her voice raw. *"Why now?"* Evan’s gaze flicked to the notebook, then back to her. *"Because some things can’t stay buried forever, Rory. And neither can you."* The door to the secret room creaked open wider, revealing a man in a long coat, his face obscured by the shadows. His voice was a whisper, but it carried the weight of a storm. *"She’s here,"* he said. *"And she’s waiting."*
created_at"2026-02-20T19:40:19.323Z" 2/20/2026, 7:40:19 PM
model"mistralai/ministral-8b-2512"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency262
moderation_latency(null)
generation_time15322
tokens_prompt4618
tokens_completion2919
native_tokens_prompt4274
native_tokens_completion2659
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"
usage0.00103995
router(null)
provider_responses
0
endpoint_id"c85d26e1-1e0c-449b-9775-2afce7ae510b"
id"e6f84fa7996945a08e615922f6cf420f"
is_byokfalse
latency262
model_permaslug"mistralai/ministral-8b-2512"
provider_name"Mistral"
status200
api_type"completions"
id"gen-1771616419-xikrGILhCJDimDyjJee2"
upstream_id"e6f84fa7996945a08e615922f6cf420f"
total_cost0.00103995
cache_discount(null)
upstream_inference_cost0
provider_name"Mistral"

Evaluation details

Result Evaluator Details Meta Data
64.86% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags28
adverbTagCount5
adverbTags
0"He stepped back [back]"
1"He shrugged like [like]"
2"He turned back [back]"
3"she said again [again]"
4"she said again [again]"
dialogueSentences74
tagDensity0.378
leniency0.757
rawRatio0.179
effectiveRatio0.135
94.73% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1896
totalAiIsmAdverbs2
found
0
adverb"slightly"
count1
1
adverb"barely above a whisper"
count1
highlights
0"slightly"
1"barely above a whisper"
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)
0.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1896
totalAiIsms43
found
0
word"flickered"
count1
1
word"pulse"
count3
2
word"trembled"
count1
3
word"echoed"
count1
4
word"flicked"
count5
5
word"silence"
count1
6
word"eyebrow"
count1
7
word"stomach"
count1
8
word"charged"
count1
9
word"unspoken"
count1
10
word"gleaming"
count1
11
word"could feel"
count12
12
word"weight"
count8
13
word"unreadable"
count1
14
word"whisper"
count2
15
word"roaring"
count2
16
word"carried the weight"
count1
highlights
0"flickered"
1"pulse"
2"trembled"
3"echoed"
4"flicked"
5"silence"
6"eyebrow"
7"stomach"
8"charged"
9"unspoken"
10"gleaming"
11"could feel"
12"weight"
13"unreadable"
14"whisper"
15"roaring"
16"carried the weight"
0.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches5
maxInWindow5
found
0
label"weight of words/silence"
count5
highlights
0"the weight of the words"
1"the weight of the moment"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences145
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount2
narrationSentences145
filterMatches
0"feel"
1"look"
hedgeMatches
0"tried to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences189
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen42
ratio0
matches(empty)
0.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans86
markdownWords374
totalWords1884
ratio0.199
matches
0"The Raven’s Nest"
1"clang"
2"\"Well, well. If it isn’t the little Irish lawyer.\""
3"Fucking"
4"thud"
5"\"Rory?\""
6"Carter"
7"\"Evan.\""
8"\"Still got the fire in you, I see.\""
9"\"Or did you lose it along with the rest of your ambition?\""
10"seen"
11"\"What are you doing here?\""
12"\"Business.\""
13"\"You?\""
14"\"Still running from things, I see.\""
15"Silas"
16"clink"
17"\"You look different.\""
18"\"So do you.\""
19"\"Time does that.\""
20"\"You still work for that Chinese bloke, then?\""
21"\"Yu-Fei Cheung?\""
22"\"You remember his name?\""
23"\"I remember a lot of things.\""
24"\"You ever think about coming back? To the firm? I could use someone like you.\""
25"\"You? Need me?\""
26"\"I need *you"
27"\"You always were good at bending rules.\""
28"\"You’re married,\""
29"\"Divorced.\""
30"\"Happens when you spend too much time chasing ghosts.\""
31"\"You two done here, or should I start charging for the air?\""
32"\"Nah, nah. We’re just catching up.\""
33"\"You ever think about what you left behind?\""
34"\"I’ve been keeping track,\""
35"\"Of the people you’ve left behind. The cases you walked away from. The lives you didn’t save.\""
36"\"You’re full of surprises,\""
37"\"So are you.\""
38"\"Page 47. The Carter case. The one you couldn’t close.\""
39"him"
40"\"You’re lying,\""
41"\"Am I?\""
42"\"Or are you just afraid to look?\""
43"\"Carter. You said you’d find her. You said you’d make it right. But you didn’t. And now she’s gone.\""
44"\"Laila,\""
45"\"You still remember.\""
46"gone"
47"\"You knew,\""
48"\"I knew.\""
49"\"And now you do too.\""
50"thud"
51"\"Enough.\""
52"\"You always were good at running,\""
53"\"But you can’t run forever.\""
54"\"Get out.\""
55"\"Not until she’s done.\""
56"\"You’re not leaving,\""
57"\"Not until I know why.\""
58"\"Because some debts never die, Rory. And neither do the people who owe them.\""
59"\"You’re lying,\""
60"\"You’re lying about my mother.\""
61"\"Am I?\""
62"\"Out.\""
63"\"Not until she’s done.\""
64"\"Why?\""
65"\"Why now?\""
66"\"Because time’s a bitch, Rory.\""
67"\"And she doesn’t care about your little rules.\""
68"thud"
69"\"Enough.\""
70"\"You always were good at running,\""
71"\"But you can’t run forever.\""
72"\"Get out.\""
73"\"Not until she’s done.\""
74"\"You’re not leaving,\""
75"\"Not until I know why.\""
76"\"Because some debts never die, Rory. And neither do the people who owe them.\""
77"\"You’re lying,\""
78"\"You’re lying about my mother.\""
79"\"Am I?\""
80"\"Out.\""
81"\"Why?\""
82"\"Why now?\""
83"\"Because some things can’t stay buried forever, Rory. And neither can you.\""
84"\"She’s here,\""
85"\"And she’s waiting.\""
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions27
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions65
wordCount1523
uniqueNames8
maxNameDensity1.51
worstName"Evan"
maxWindowNameDensity3.5
worstWindowName"Evan"
discoveredNames
Raven1
Carter3
Evan23
Rory23
Different1
Laila1
Silas9
Had4
persons
0"Carter"
1"Evan"
2"Rory"
3"Laila"
4"Silas"
5"Had"
places
0"Raven"
globalScore0.745
windowScore0.5
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences95
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1884
matches(empty)
78.48% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount5
totalSentences189
matches
0"remembered that version"
1"knew that feeling"
2"knew that notebook"
3"knew that case"
4"knew that voice"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs78
mean24.15
std18.32
cv0.759
sampleLengths
01
179
210
39
476
567
69
743
855
956
109
1180
1212
1339
1419
1510
1635
178
1821
1947
2020
2116
227
2320
2435
254
2645
2723
2848
2910
3026
3144
324
3320
3445
355
368
3719
3810
393
408
4139
4210
4311
4441
4520
4629
4741
487
497
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences145
matches
0"was directed"
1"been *gone"
50.19% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount6
totalVerbs267
matches
0"was debating"
1"was betraying"
2"was betraying"
3"was betraying"
4"was betraying"
5"was betraying"
6.80% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount13
semicolonCount0
flaggedSentences9
totalSentences189
ratio0.048
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 damp wool and something sharper—like old whiskey and the faint metallic tang of a half-empty ashtray."
1"The voice belonged to Evan O’Shea—Evan *Fucking* O’Shea—and if she spun around now, he’d see the way her pulse hammered at her throat, the way her hands trembled just enough to betray her."
2"But this Evan—this man who stood just inside the bar’s dim glow, his broad shoulders filling the doorway—hadn’t aged well."
3"But Evan had always had a knack for showing up when she least expected it—like a bad habit you couldn’t shake."
4"*\"Business.\"* He leaned against the bar, his sleeve riding up to reveal a fresh scar—a thin, white line across his forearm."
5"The bartender—a man with a face like a bulldog and a name tag that read *Silas*—paused mid-pour, his eyes flicking between them."
6"She remembered that version of him—the one who’d promised her the world if she’d just stay quiet, just let him handle things."
7"She remembered Laila Carter—her mother."
8"The door to the bar’s secret room—hidden behind the bookshelf—creaked open on its own, as if summoned by the weight of the moment."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1536
adjectiveStacks1
stackExamples
0"small, leather-bound notebook."
adverbCount55
adverbRatio0.035807291666666664
lyAdverbCount8
lyAdverbRatio0.005208333333333333
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences189
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences189
mean9.96
std7.47
cv0.75
sampleLengths
041
114
224
310
49
511
63
73
81
92
1033
1123
1211
1331
1420
155
168
171
1811
1920
2012
217
223
234
2421
2515
265
2721
2817
2912
306
313
323
333
3426
3522
3632
379
383
3917
401
416
4215
4311
448
456
464
4720
4815
495
44.71% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.2275132275132275
totalSentences189
uniqueOpeners43
98.04% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences136
matches
0"Then the voice cut through"
1"Then he set the glass"
2"Then it was back, sharper,"
3"Then it was back, sharper,"
ratio0.029
78.82% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount48
totalSentences136
matches
0"She didn’t turn."
1"His voice was smoother now,"
2"She exhaled through her nose,"
3"His lips curled, just slightly,"
4"He stepped back, gesturing to"
5"She should’ve known."
6"She set the bag down"
7"He leaned against the bar,"
8"His gaze flicked to her"
9"She didn’t answer."
10"She kept her voice flat,"
11"He smirked, but it didn’t"
12"She raised an eyebrow"
13"His gaze dropped to her"
14"He leaned forward, his voice"
15"She remembered that version of"
16"she said, because it was"
17"He shrugged, like it was"
18"She knew that feeling."
19"He turned back to Rory,"
ratio0.353
22.50% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount119
totalSentences136
matches
0"The door to *The Raven’s"
1"Rory Carter froze mid-step, her"
2"The neon sign above the"
3"The words slithered through the"
4"Rory’s breath hitched."
5"She didn’t turn."
6"The voice belonged to Evan"
7"His voice was smoother now,"
8"The Evan she knew would’ve"
9"She exhaled through her nose,"
10"His lips curled, just slightly,"
11"He stepped back, gesturing to"
12"Rory’s fingers flexed around the"
13"She should’ve known."
14"She set the bag down"
15"He leaned against the bar,"
16"His gaze flicked to her"
17"The one from the night"
18"Rory’s jaw tightened."
19"She didn’t answer."
ratio0.875
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences136
matches(empty)
ratio0
60.44% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences52
technicalSentenceCount6
matches
0"But this Evan—this man who stood just inside the bar’s dim glow, his broad shoulders filling the doorway—hadn’t aged well."
1"The bartender—a man with a face like a bulldog and a name tag that read *Silas*—paused mid-pour, his eyes flicking between them."
2"The woman who’d taught her everything she knew about fighting, about surviving."
3"Silas moved then, stepping between them, his hand resting on the hilt of the knife tucked into his belt."
4"The door to the bar’s secret room—hidden behind the bookshelf—creaked open on its own, as if summoned by the weight of the moment."
5"Silas moved then, stepping between them, his hand resting on the hilt of the knife tucked into his belt."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags28
uselessAdditionCount11
matches
0"She kept, but her pulse was a drumbeat in her ears"
1"He leaned, his voice dropping to something quieter, more intimate"
2"He turned back, his voice dropping again"
3"she said, her voice dangerously calm"
4"He tilted, his eyes gleaming in the dim light"
5"she said, her voice barely above a whisper"
6"he said, his voice soft now, almost sad"
7"she said, her voice steady despite the storm inside her"
8"he said, his voice soft now, almost sad"
9"she said, her voice steady despite the storm inside her"
10"she demanded, her voice raw"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags15
fancyCount3
fancyTags
0"she whispered (whisper)"
1"she demanded (demand)"
2"she demanded (demand)"
dialogueSentences74
tagDensity0.203
leniency0.405
rawRatio0.2
effectiveRatio0.081
68.1192%