Run: 2026-03-18-01KM0934T6G8D9N3A5JVK6NEC1

Run Details

Duration:
31.1s
Cost:
$0.002570
Provider:
Mistral

Model input

System
You are an expert and award-winning novel writer in the dark Thriller genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4416" name="Detective Harlow Quinn" aliases="Quinn, Detective Quinn, Harlow" pronouns="she/her" species="Human" storyRole="Antagonist"> <eyeColor>brown</eyeColor> <hair>closely cropped salt-and-pepper</hair> <height>5'9"</height> <age>41</age> <jawline>sharp jaw</jawline> <watch>worn leather watch on her left wrist</watch> <bearing>military precision</bearing> <description>A Metropolitan Police detective with 18 years of decorated service who suspects the clique is involved in criminal activity.</description> <backstory>She lost her partner, DS Morris, during a case three years ago under unexplained circumstances that had supernatural origins she doesn't yet understand.</backstory> </character> <character id="4417" name="Tomás Herrera" aliases="Tommy, Tomás, Herrera" pronouns="he/him" species="Human" storyRole="Support"> <eyeColor>warm brown</eyeColor> <hair>short curly dark brown</hair> <height>5'10"</height> <age>29</age> <skinTone>olive skin</skinTone> <scar>scar running along his left forearm from a knife attack</scar> <medallion>Saint Christopher medallion around his neck</medallion> <birthplace>Seville, Spain</birthplace> <description>A former paramedic who provides off-the-books medical care for the clique.</description> <backstory>Born in Seville, Spain. He moved to London to work for the NHS but lost his license after administering unauthorized treatments to supernatural patients.</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> <location id="856" name="The Veil Market" aliases="Veil Market, the Market, underground market" realm="Earth"> <currentLocation>abandoned Tube station beneath Camden</currentLocation> <entryRequirement>bone token</entryRequirement> <schedule>moves locations every full moon</schedule> <description>A hidden supernatural black market that sells enchanted goods, banned alchemical substances, and information.</description> </location> </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 thriller genre. A detective is pursuing a suspect through rain-soaked city streets at night. The chase takes them from the street level down into an underground market. The detective must decide whether to follow the suspect into unfamiliar and potentially dangerous territory. 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 cobblestones slicked under her boots, rain sluicing between the seams. Somewhere ahead, he moved—just a flicker at the edge of her vision, always out of proper reach. Detective Harlow Quinn adjusted her grip on the pistol, tucked low against her thigh. The muzzle glinted under the flickering streetlamp above Wardour Street, drawing no eyes in this downpour. She wasn't supposed to sprint through central London at two in the morning wearing dress shoes better suited to a boardroom. But he'd been at the Conduit Club. She'd been monitoring the Clique’s off-book gathering for three weeks, trailing from the Raven’s Nest once the bar descended into its usual haze of whispered deals and spilled absinthe. And when her suspect had slipped away through the back exit—not the front, never the front—she'd given chase, boots notwithstanding. Ahead, he veered left onto Greek Street, silhouette cutting through neon haze. Quinn cursed under her breath and pushed harder, her leather watch biting into her wrist as she brought up her radio. “Control, this is Quinn. Suspect heading east on Greek, last seen south of Shaftesbury. Requesting backup and unit to cover exits on Old Compton.” Static hissed back. Then, “Backup’s ten out. Market’s closed tonight, Quinn, traffic’s a bitch. Keep visual.” She clipped the radio back to her belt. Backup wouldn't find him in time. Not here. Not now. A bin clattered against brick. Quinn flinched sideways into an alcove, pistol rising instinctively. A rat skittered over her shoelace, gone before she could bark. She exhaled slow through her nose. Think. Where would he go? Then it hit her—Camden. The old Tube tunnels. The Veil Market had roots in the abandoned lines. If he was one of them, he’d slither underground. She bolted forward again, cutting through an alley that reeked of fried onions and wet newspaper. The suspect’s trail curved sharp left onto Neal Street, past the skeletal frame of a half-demolished building. His breath came ragged; she heard it—wet, panicked. Not a pro. Just a frightened man with too much to lose. Quinn closed the gap. Thirty yards. Twenty. He twisted into a narrow passage between two shops, the sign above them barely lit: *Nazar’s Antiques & Curiosities*. She skidded after, boots skidding on loose tiles. The alley ended in a dead drop—a rusted fire escape leading up to a boarded window. But above, a drainpipe ran vertical, slick with rain. Quinn holstered her pistol, grabbed the pipe, and began to climb. Halfway up, something hit her shoulder—a rock? No, a folded piece of paper. It fluttered past her face, landed a storey below with a sodden *plap*. She snarled, steadied herself, and reached the window. The boards were warped, one edge loose. Through the gap, she saw him—a shadow darting down a dim corridor, lit only by flickering fluorescent tubes. She didn’t hesitate. Wrenching the board free, she shouldered through into damp, stale air. The place smelled of ozone and old grease. Industrial carpet, peeling back from decades of wear. She dropped onto a service catwalk over a cavernous space, her right knee screaming in protest. Below, the suspect was already bolting down a set of concrete stairs, disappearing into blackness. “Freeze! Metropolitan Police!” He didn’t stop. Didn’t turn. Quinn unholstered her pistol again. She aimed not to wound, but to intimidate—just enough pressure to make him reconsider. The shot cracked like thunder in the enclosed space. Plaster exploded from the wall beside him. He stumbled, recovered, and vanished below. She moved fast, skidding down the stairs two at a time. The air grew colder. The ceiling lowered. The stairs ended abruptly at a narrow platform above a platform that wasn’t supposed to exist—an abandoned Piccadilly Line station, mothballed decades ago. Rainwater dripped from the curved ceiling onto the grimy tiles. Graffiti pulsed neon in the dark—charms, sigils, warnings in languages she didn’t know. But the suspect was already gone. Quinn paused. Listened. Her pulse hammered in her neck. The platform stretched left and right, lost in black. A single flickering bulb. A trickle of urine-scented water from a broken pipe. She stepped onto the platform, boots echoing. The tiles were wet, cracked, bearing the stains of forgotten lives. She raised her voice: “Last chance. Hands where I can see them.” Silence. Then, from the shadows to her left, a low chuckle—soft, almost amused. “Detective Quinn. I was wondering when you’d arrive.” The voice was familiar. Too familiar. She knew that cadence, that authority beneath the mockery. Her fingers tightened on the grip. “Silas.” The barman from the Raven’s Nest emerged from the dark, hands raised in mock surrender, palms open. Behind him, five figures stepped forward—tall, gaunt, dressed in long coats despite the damp. Their faces were half obscured by hoods or shadows, but she felt their gaze: predatory, ancient. Quinn didn’t lower the gun. “Silas Kaine,” she said. “You’re under arrest for suspicion of murder. Accessory to at least three homicides. And whatever the hell you’re doing running an underground market underneath Camden.” Silas smirked. His green eyes glinted like chips of buried glass. “Murder? Darling, we don’t do murder. We *facilitate* it. A subtle distinction.” He tilted his head, rainwater dripping from his unkempt silver hair. “And as for this place—it’s not *underneath* Camden. It *is* Camden. Just… remembered.” A floorboard creaked behind her. Quinn didn’t flinch. She spun to her right, pistol swinging toward the sound—just in time to see a glint of steel flash in the dark. A knife, aimed not at her heart—lower. Her thigh. A quick slash, aimed to disable and humiliate. She sidestepped half a heartbeat too late. The blade grazed her coat, slicing through the fabric like paper. Pain flared across her hip, sudden and hot. She hissed, more from shock than injury, and countered with a brutal kick that sent the attacker staggering into the wall. The knife clattered to the tiles. A woman, hood now fallen back—pale face, dark eyes, mouth twisted in a snarl. “Bitch,” the woman spat. Quinn brought her pistol up to eye level. “Move again and I’ll paint the wall with your brain.” The woman froze. The others didn’t advance. They didn’t retreat either. Silas chuckled. “Professionalism. Always so impressive. But fear not, Detective—your presence *here* means you’ve accepted our invitation. The Veil Market doesn’t open for just anyone. It opens for *you*.” Quinn’s breath came fast and shallow. Blood seeped through her coat, warming her skin. She could feel it—dripping down her leg, soaking into her trousers. She ignored it. “You framed one of my detectives,” she said to Silas, voice steady despite the fire in her side. “DS Morris. Put him in a body bag three years ago. I want to know why.” Silas spread his hands. “Supervisory errors occur. Particularly in cases involving… *unconventional* suspects.” “You know what we found in his pocket?” She advanced one slow step. “A Saint Christopher medal. Just like the one hanging around the neck of Tomás Herrera—the same man who’s been patching up your wounded for the last year. The same man who moved to London after two suspicious deaths in Seville. Coincidence? Or pattern?” Silas’ smile didn’t waver. “Patterns are comforting. But this—” He gestured to the cavern around them, the flickering lights, the hum of distant voices rising from the dark. “This is survival. This is *what the world runs on*.” A distant sound cut through the dark—not a voice, not a footstep. A chime. Clear. Musical. Silas’ eyes flicked to the left. His expression darkened for the first time. “Ah. It appears our opening has been announced early.” Quinn didn’t wait. She lunged forward, not at Silas—at the woman with the knife. Catching her by the wrist, she twisted hard, slamming her across the platform with a brutal throw. The woman hit the tiles with a cry, her ribs cracking against concrete. Silas sighed. “I do hope you understand, Detective… you cannot leave. Not now. The Market has—” Quinn fired. One shot. Centre mass. Silas’ chest blossomed red. He stumbled back, eyes wide with something between shock and amusement. “Oh my,” he whispered. Then he collapsed. The cavern erupted into shouts and movement. Quinn didn’t look back. She ran—straight down the platform, into a narrow passage that reeked of damp wool and burnt sugar. The passage twisted, sloping downward into absolute black. Her breath came in ragged gasps now, pain flaring in her side. She could hear them behind her—multiple footsteps, fast, eager. Not human echoes. Hungry. She skidded to a halt at the end of the passage. A dead-end? No—narrow metal stairs descended into darkness. A sign, rusted and flaking: *"Way Out (Not Recommended)"* in faded red. She took the stairs two at a time, pistol leading. The air grew thick. Cold. It smelled of rust and something older—bone dust, maybe. She reached the bottom. Floor lights flickered to life automatically, triggered by her presence. She found herself in a vast underground bazaar—dozens of stalls, stalls draped in black silk, lit by candles that never burned low. Merchants with too many teeth, eyes like polished river stones, and customers who didn’t blink. They all turned toward her. The Veil Market had opened for her. And she was standing in the middle of it, blood dripping from her coat, pistol in hand, three pursuers behind her, and no idea whether she could ever find the way back. A stallkeeper, draped in a coat of patchwork fur, stepped forward. In her gnarled hands, she held a small leather pouch tied with a green cord. She smiled, showing too many teeth. “Welcome, Detective Quinn,” she said, voice like old parchment. “You’ll need this.” Quinn didn’t take her eyes off the staircase. She heard them coming—close now, too close. “What is it?” she demanded. The woman dangled the pouch. Inside, something *moved*. “A token,” she whispered. “For the way back… or the way forward. Choose wisely.” Quinn holstered her pistol. She reached out and took the pouch with a jerk. The moment her fingers touched it, the market lights dimmed for a second. Shadows pooled like ink across the floor. From behind, a blade flashed in the dark. She twisted—just enough—and felt the steel graze her shoulder this time, slicing through fabric and skin. She grunted, but didn’t cry out. She brought her fist down on the attacker’s wrist, breaking the hold. Another shot rang out—wild, from the direction of the stairs. Not hers. Backup? The marketplace erupted into chaos. Customers fled. Merchants vanished into their wares. The stallkeeper was gone. Quinn stood alone in the centre, gripping the pouch, blood dripping from three wounds now, feeling the cold of the underground seep into her bones. She made her choice. She shoved the pouch into her coat pocket. Then she sprinted deeper into the dark, toward the only place they wouldn’t follow—where the walls pulsed, where the air tasted of iron and salt, where the floor beneath her feet no longer felt like earth. She was going to break the Veil open. The Veil Market could bleed for once.
created_at"2026-03-18T10:50:33.695Z" 3/18/2026, 10:50:33 AM
model"mistralai/mistral-small-2603" 1/1/2603, 12:00:00 AM
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency439
moderation_latency(null)
generation_time30987
tokens_prompt4663
tokens_completion3792
native_tokens_prompt4300
native_tokens_completion3266
native_tokens_completion_images(null)
native_tokens_reasoning773
native_tokens_cached256
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"
usage0.00257004
router(null)
provider_responses
0
endpoint_id"f5ed6283-4e17-457d-98cd-2ec0c318171d"
id"fad396a229274759809403206b47137e"
is_byokfalse
latency425
model_permaslug"mistralai/mistral-small-2603" 1/1/2603, 12:00:00 AM
provider_name"Mistral"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.0; linux; x64))"
http_referer(null)
api_type"completions"
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upstream_id"fad396a229274759809403206b47137e"
total_cost0.00257004
cache_discount0.00003456
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
totalTags11
adverbTagCount0
adverbTags(empty)
dialogueSentences29
tagDensity0.379
leniency0.759
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1874
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
54.64% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1874
totalAiIsms17
found
0
word"flicker"
count1
1
word"fluttered"
count1
2
word"pulsed"
count2
3
word"pulse"
count1
4
word"echoing"
count1
5
word"silence"
count1
6
word"familiar"
count2
7
word"glint"
count1
8
word"could feel"
count1
9
word"comforting"
count1
10
word"flicked"
count1
11
word"footsteps"
count1
12
word"echoes"
count1
13
word"flickered"
count1
14
word"silk"
count1
highlights
0"flicker"
1"fluttered"
2"pulsed"
3"pulse"
4"echoing"
5"silence"
6"familiar"
7"glint"
8"could feel"
9"comforting"
10"flicked"
11"footsteps"
12"echoes"
13"flickered"
14"silk"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences184
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences184
filterMatches
0"watch"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences204
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans11
markdownWords21
totalWords1843
ratio0.011
matches
0"Nazar’s Antiques & Curiosities"
1"plap"
2"facilitate"
3"underneath"
4"is"
5"here"
6"you"
7"unconventional"
8"what the world runs on"
9"\"Way Out (Not Recommended)\""
10"moved"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions51
wordCount1536
uniqueNames21
maxNameDensity1.11
worstName"Quinn"
maxWindowNameDensity2.5
worstWindowName"Quinn"
discoveredNames
Harlow1
Quinn17
Wardour1
Street3
London1
Conduit1
Club1
Clique1
Raven2
Nest2
Greek1
Camden1
Tube1
Veil4
Market3
Neal1
Antiques1
Piccadilly1
Line1
Silence1
Silas6
persons
0"Harlow"
1"Quinn"
2"Clique"
3"Nest"
4"Market"
5"Silas"
places
0"Wardour"
1"Street"
2"London"
3"Conduit"
4"Raven"
5"Greek"
6"Neal"
globalScore0.947
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences114
glossingSentenceCount2
matches
0"something between shock and amusement"
1"felt like earth"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.543
wordCount1843
matches
0"not to wound, but to intimidate"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences204
matches
0"knew that cadence"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs74
mean24.91
std19.09
cv0.766
sampleLengths
058
177
233
324
416
518
636
726
853
97
1052
1111
1259
133
1458
153
165
1741
1864
196
2031
2122
228
2313
248
2521
261
2747
285
2929
3047
315
3242
337
3460
354
3618
3711
3829
3928
4034
4113
4256
4338
4416
4522
4644
4716
482
494
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences184
matches
0"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs281
matches
0"was already bolting"
1"was standing"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount29
semicolonCount1
flaggedSentences27
totalSentences204
ratio0.132
matches
0"Somewhere ahead, he moved—just a flicker at the edge of her vision, always out of proper reach."
1"And when her suspect had slipped away through the back exit—not the front, never the front—she'd given chase, boots notwithstanding."
2"Then it hit her—Camden."
3"His breath came ragged; she heard it—wet, panicked."
4"The alley ended in a dead drop—a rusted fire escape leading up to a boarded window."
5"Halfway up, something hit her shoulder—a rock?"
6"Through the gap, she saw him—a shadow darting down a dim corridor, lit only by flickering fluorescent tubes."
7"She aimed not to wound, but to intimidate—just enough pressure to make him reconsider."
8"The stairs ended abruptly at a narrow platform above a platform that wasn’t supposed to exist—an abandoned Piccadilly Line station, mothballed decades ago."
9"Graffiti pulsed neon in the dark—charms, sigils, warnings in languages she didn’t know."
10"Then, from the shadows to her left, a low chuckle—soft, almost amused."
11"Behind him, five figures stepped forward—tall, gaunt, dressed in long coats despite the damp."
12"She spun to her right, pistol swinging toward the sound—just in time to see a glint of steel flash in the dark."
13"A knife, aimed not at her heart—lower."
14"A woman, hood now fallen back—pale face, dark eyes, mouth twisted in a snarl."
15"She could feel it—dripping down her leg, soaking into her trousers."
16"A distant sound cut through the dark—not a voice, not a footstep."
17"She lunged forward, not at Silas—at the woman with the knife."
18"She ran—straight down the platform, into a narrow passage that reeked of damp wool and burnt sugar."
19"She could hear them behind her—multiple footsteps, fast, eager."
20"No—narrow metal stairs descended into darkness."
21"It smelled of rust and something older—bone dust, maybe."
22"She found herself in a vast underground bazaar—dozens of stalls, stalls draped in black silk, lit by candles that never burned low."
23"She heard them coming—close now, too close."
24"She twisted—just enough—and felt the steel graze her shoulder this time, slicing through fabric and skin."
25"Another shot rang out—wild, from the direction of the stairs."
26"Then she sprinted deeper into the dark, toward the only place they wouldn’t follow—where the walls pulsed, where the air tasted of iron and salt, where the floor beneath her feet no longer felt like earth."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1024
adjectiveStacks0
stackExamples(empty)
adverbCount33
adverbRatio0.0322265625
lyAdverbCount5
lyAdverbRatio0.0048828125
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences204
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences204
mean9.03
std6.88
cv0.761
sampleLengths
011
117
214
316
421
57
629
720
812
921
1024
113
1213
138
146
152
162
175
189
1911
206
211
224
234
244
259
269
2716
2817
298
303
319
324
332
341
3519
368
3716
389
3911
407
416
4213
438
447
4518
463
4711
488
498
55.88% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.36764705882352944
totalSentences204
uniqueOpeners75
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences153
matches
0"Somewhere ahead, he moved—just a"
1"Then it hit her—Camden."
2"Just a frightened man with"
3"Then, from the shadows to"
4"Then he collapsed."
5"Then she sprinted deeper into"
ratio0.039
76.21% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount55
totalSentences153
matches
0"She wasn't supposed to sprint"
1"She'd been monitoring the Clique’s"
2"She clipped the radio back"
3"She exhaled slow through her"
4"She bolted forward again, cutting"
5"His breath came ragged; she"
6"He twisted into a narrow"
7"She skidded after, boots skidding"
8"It fluttered past her face,"
9"She snarled, steadied herself, and"
10"She didn’t hesitate."
11"She dropped onto a service"
12"He didn’t stop."
13"She aimed not to wound,"
14"He stumbled, recovered, and vanished"
15"She moved fast, skidding down"
16"Her pulse hammered in her"
17"She stepped onto the platform,"
18"She raised her voice:"
19"She knew that cadence, that"
ratio0.359
48.24% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount126
totalSentences153
matches
0"The cobblestones slicked under her"
1"Detective Harlow Quinn adjusted her"
2"The muzzle glinted under the"
3"She wasn't supposed to sprint"
4"She'd been monitoring the Clique’s"
5"Quinn cursed under her breath"
6"Static hissed back."
7"She clipped the radio back"
8"Backup wouldn't find him in"
9"A bin clattered against brick."
10"Quinn flinched sideways into an"
11"A rat skittered over her"
12"She exhaled slow through her"
13"The old Tube tunnels."
14"The Veil Market had roots"
15"She bolted forward again, cutting"
16"The suspect’s trail curved sharp"
17"His breath came ragged; she"
18"Quinn closed the gap."
19"He twisted into a narrow"
ratio0.824
32.68% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences153
matches
0"If he was one of"
ratio0.007
83.33% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences60
technicalSentenceCount5
matches
0"She bolted forward again, cutting through an alley that reeked of fried onions and wet newspaper."
1"The stairs ended abruptly at a narrow platform above a platform that wasn’t supposed to exist—an abandoned Piccadilly Line station, mothballed decades ago."
2"She hissed, more from shock than injury, and countered with a brutal kick that sent the attacker staggering into the wall."
3"She could feel it—dripping down her leg, soaking into her trousers."
4"Merchants with too many teeth, eyes like polished river stones, and customers who didn’t blink."
34.09% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount2
matches
0"He tilted, rainwater dripping from his unkempt silver hair"
1"she said, voice steady despite the fire in her side"
12.07% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount4
fancyTags
0"the woman spat (spit)"
1"he whispered (whisper)"
2"she demanded (demand)"
3"she whispered (whisper)"
dialogueSentences29
tagDensity0.241
leniency0.483
rawRatio0.571
effectiveRatio0.276
82.6825%