Run: 2026-10-06-01M48VM1AR4MTDJ03HW509S5ZH

Run Details

Duration:
1m 5s
Cost:
$0.009210
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 knock came at 11:47 PM, three sharp raps that cut through the rain against the window. Rory set down her pen. The case notes for her Pre-Law module stared back at her, half-finished, useless. She didn't move. The knock came again. Louder. Impatient. "Coming," she called, though her voice came out rougher than she intended. She crossed the small living room, past the sofa where Ptolemy slept curled in a sunbeam that had vanished hours ago, past the tower of legal textbooks stacked against the radiator. The deadbolts clicked open in sequence. Three of them. Eva's paranoia had rubbed off on her. The door swung inward. Lucien Moreau stood in the doorway, rain dripping from his platinum hair, his charcoal suit darkened to charcoal-black where the water had soaked through. He held his ivory-handled cane loose in one hand, the other gripping a leather satchel. His heterochromatic eyes, one amber, one black, found hers in the dim hallway light. "You're alive," he said. "Barely." She stepped aside, gesturing him in with a tilt of her chin. "You're wet." "I know." He didn't offer to leave. Didn't apologise for the hour, for the three years, for whatever silence had stretched between them like a wire pulled too tight. He simply stepped across the threshold, and the rain smell followed him in, cold and metallic, like the memory of a hospital corridor. Rory closed the door. Locked all three deadbolts. Turned to find him already in her kitchen, running a hand through his sodden hair, water pooling on the linoleum. "Tea," she said. "Or something stronger." "Something stronger." He didn't look at her. "Whisky, if you have it. Irish." She reached for the bottle on the top shelf, the good one Eva had given her for her twenty-fifth birthday. Poured two fingers into a tumbler, slid it across the counter. He caught it without thanks, without acknowledgement, and drank. Rory leaned against the counter, arms crossed, watching him. The scar on her left wrist itched, a phantom sensation she'd carried since childhood, since before she'd known what it meant to want someone and lose them anyway. "You could have called," she said. "I did. Three years ago." He set the glass down, finally meeting her eyes. The amber one caught the kitchen light. The black one swallowed it. "You didn't answer." "I was in Cardiff. With my parents. Trying to—" She stopped. The sentence had no clean ending. Trying to be normal. Trying to forget. Trying to survive a man who had loved her with the kind of devotion that left bruises, metaphorical and otherwise. "Trying to what, Rory?" She laughed, sharp and humourless. "Trying to breathe without thinking about you. How's that?" The silence stretched. Somewhere in the flat, Ptolemy yowled, demanding attention. "He's always been dramatic," Lucien said, not unkindly. "He's a cat." "So am I, apparently. Eva says you've been asking about me." Rory's fingers tightened on the counter edge. "Eva talks too much." "Eva talks exactly enough." He pushed off from the counter, cane tapping a slow rhythm against the tiles as he crossed to her. Close enough that she could smell him, rain and bergamot and something darker, something that had always clung to him like smoke. "She said you left your job at the firm. Said you're delivering food for a Chinese restaurant now." "Golden Empress. Yu-Fei's very kind." "Kind." Lucien's voice had gone flat, stripped of its usual musical lilt. "You were going to be a barrister. You had the grades. The recommendations. The—" He stopped, jaw tightening. "The future, Rory. You had a future, and you threw it away." "I had a life that was killing me." "And this?" He gestured at her, at the flat, at the life she'd built in the wreckage of theirs. "This is what you wanted? A flat above a bar. A job that pays in tips. A cat." "Don't." The word came out sharper than she intended. "Don't you dare stand there and judge me, Lucien. You don't get to do that. Not after—" "After what?" She couldn't say it. The words had calcified somewhere in her throat, three years of silence pressing down on them. Evan. The bruises she'd hidden under long sleeves in August. The way Lucien had found her, shaking, in the corridor of their shared flat, and the way he'd looked at her like she was already gone. "After you left," she said finally. "After you walked out that door and didn't look back." "I looked back." His voice cracked, just slightly, on the last word. "Every step. Every bloody step, Rory, I looked back. And you were standing there with your arms crossed and your eyes dry, and I thought—" He broke off, pressing the heels of his hands against his eyes. "I thought you wanted me to go." Rory felt something cold settle in her chest. "I wanted you to stay. I wanted you to fight. I wanted you to—" She stopped, realising too late what she'd almost said. Wanted you to see me. Wanted you to choose me over whatever it was you were running from. The amber eye gleamed at her through his fingers. "Over what?" "Over her." The name hung between them, unspoken but devastating. Colette. The demon from Avaros who had been Lucien's betrothed before he'd fled to Earth, before he'd met Rory in a Cardiff coffee shop and looked at her like she was the only person in a burning room. Lucien lowered his hands. His face had gone still, the mask he wore in the supernatural underworld, the one that made kings and crime lords nervous. "Colette is dead." "I know." Rory's voice came out small. "Eva told me. Last year." "Then you know I didn't leave for her." "I know you left." She pushed off the counter, moving closer, close enough to touch him, close enough to feel the heat radiating from his sodden suit. "I know you left and you didn't say goodbye and you didn't explain and you just—" Her voice broke. She hated it. Hated the wetness in her eyes, the tremor in her hands. "You just disappeared, Lucien. And I waited. I waited for a call, a letter, anything. And then Eva called and said you were in London and you were fine and you weren't coming back, and I thought—" She couldn't finish. The memory of that phone call, Eva's voice careful and kind and utterly devastating, still sat in her stomach like a stone. Lucien reached out. His hand hovered near her face, not touching, trembling slightly. "I was a coward," he said. "I was twenty-nine years old and I was a coward. I thought if I stayed, if I fought for you, I'd drag you into something you couldn't survive. My father. My world. The politics." He laughed, broken. "I thought I was protecting you. I was protecting myself." Rory caught his hand. Pressed her palm against his, felt the calluses, the faint scar across his knuckles where a blade had once slipped. "You could have told me. You could have let me decide." "I know." "And I would have." She stepped closer, her forehead nearly touching his. "I would have chosen you. Every time. Even if it killed me." His breath hitched. The black eye dilated, swallowing the amber, and for a moment he looked less like the polished fixer she remembered and more like the boy she'd fallen in love with, desperate and afraid and so terribly young. "Rory—" "Don't." She closed the distance between them, her lips brushing his jaw, his cheek, the corner of his mouth where a faint scar marked where she'd once bitten him during a moment of passion she couldn't afford to remember. "Don't say my name like that. Not unless you mean it." He turned his head. His mouth found hers, and it was like drowning and being born in the same breath, three years of silence collapsing into the space between their bodies. His hands came up to frame her face, thumbs brushing her cheekbones, and she felt the roughness of his stubble against her skin, the tremor in his fingers, the desperate way he kissed her like he was afraid she'd vanish if he let go. Rory made a sound, broken and wondering, and pulled back just enough to breathe. "Your flat," she whispered. "Silas's bar. Downstairs." "I know where I live." "You can't stay here." She was breathless, her heart hammering against her ribs. "Eva's coming tomorrow. She'll—" "Let her." Lucien's forehead rested against hers, his voice rough. "Let her see. Let everyone see. I'm done hiding, Rory. I'm done running. I spent three years in a city that doesn't want me, working jobs that don't matter, pretending I didn't think about you every—" He broke off, shaking his head. "Every morning. Every night. Every time I closed my eyes, I saw your face. The way you looked at me that last night, like I was already a ghost." Rory felt the tears spill over, hot and traitorous. "You were. You were already gone." "Then let me come back." He kissed her tears, her eyelids, the tip of her nose. "Let me come back and be whatever you need. I don't care about the barristers and the futures. I just—" His hand slid into her hair, gripping gently, anchoring her. "I just need you. I need you, and I'm so tired of needing you from a distance." She pulled back, just enough to see his face, to see the desperation there, the love, the fear. "You can't just show up and expect—" "I'm not expecting." He stepped closer, invading her space, and she let him, she let him, because some part of her had been waiting three years for this invasion. "I'm asking. I'm asking, Rory, and I'll ask every day for the rest of my life if that's what it takes. I'll ask until you say yes or until you tell me to leave and never come back. But I can't—" His voice cracked. "I can't do this anymore. The not-knowing. The wondering. The hoping you're happy while I'm miserable and you don't even know I exist." Rory stared at him, at the rain still dripping from his hair, at the satchel on the floor that probably contained weapons and secrets and the detritus of a life she'd never fully known. She thought of Evan, of the bruises, of the way she'd learned to flinch at raised voices. She thought of Lucien, of the way he'd once held her through a panic attack at 3 AM, of the way he'd memorised her coffee order, her fears, the small crescent scar on her wrist that she'd never explained. "I don't know how," she whispered. "Then we'll learn." He reached for her again, and this time she met him, her hands finding the lapels of his suit, the buttons of his shirt, the skin at his throat where his pulse hammered. "Together. We'll learn together, and we'll be terrible at it, and we'll fight and we'll—" He smiled, small and devastated. "We'll fight, and I'll win you back every single time, because I'm stubborn and I'm yours and I always was." The kiss this time was different. Slower. Desperate in a different way, the desperation of two people who had lost too much time and refused to lose any more. Rory felt his hands slide down her waist, pulling her closer, and she arched into him, her fingers tangling in his wet hair, and somewhere in the chaos of it, she heard the satchel hit the floor, heard Ptolemy yowl again from the living room, heard the rain against the window that suddenly didn't matter at all. "Bedroom," she managed, when they finally broke apart, both of them gasping. "Your flat's above a bar." "Silas won't hear anything. The walls are thick." She was already moving, pulling him with her, and he followed, docile and eager and utterly undone. "Lucien—" "I'm here." "I know." She stopped at the bedroom door, turned to face him, rain still dripping from his shoulders onto her carpet, his eyes dark and endless and full of everything they'd never said. "I'm scared." "So am I." He stepped into the room, closed the door behind them, and kissed her again, and this time when his hands found the hem of her shirt, she didn't pull away. She helped him. She helped them both, stripping away the years, the hurt, the silence, until there was only skin and heat and the fragile, terrifying hope that this time, they might actually survive. The knock came then, sharp and insistent, a sound that shattered the moment like glass. Rory froze. Lucien froze. They stood there, half-undressed, breathless, staring at the door. "Rory?" Eva's voice, muffled but unmistakable. "I'm letting myself in. I have the spare key. You left it under the—" The door handle turned.
created_at"2026-10-06T14:59:26.178Z" 10/6/2026, 2:59:26 PM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency813
moderation_latency(null)
generation_time65068
tokens_prompt4383
tokens_completion3113
native_tokens_prompt4234
native_tokens_completion3029
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)
num_fetches(null)
web_search_engine(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
service_tier"default"
usage0.00920973
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1791298766-DNu86TJ9YoAf5lcg8NrZ"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1791298766-5HIoGmvoLyee7Povxclj"
upstream_id"ddaf9610bbcd4920b8e7de8b98231f2c"
provider_responses
0
endpoint_id"19b3b5d7-23f6-4b63-8109-64a6cc37d996"
id"ddaf9610bbcd4920b8e7de8b98231f2c"
is_byokfalse
latency813
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
status200
total_cost0.00920973
cache_discount(null)
upstream_inference_cost0
provider_name"Mistral"
response_cache_source_id(null)
data_region"global"
workspace_id"97e315e5-d303-487d-83c1-83180e8a13d4"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags42
adverbTagCount3
adverbTags
0"She stepped aside [aside]"
1"she said finally [finally]"
2"His voice cracked just [just]"
dialogueSentences86
tagDensity0.488
leniency0.977
rawRatio0.071
effectiveRatio0.07
83.79% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2159
totalAiIsmAdverbs7
found
0
adverb"very"
count1
1
adverb"slightly"
count2
2
adverb"utterly"
count2
3
adverb"gently"
count1
4
adverb"suddenly"
count1
highlights
0"very"
1"slightly"
2"utterly"
3"gently"
4"suddenly"
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)
76.84% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2159
totalAiIsms10
found
0
word"silence"
count5
1
word"lilt"
count1
2
word"unspoken"
count1
3
word"stomach"
count1
4
word"pulse"
count1
5
word"shattered"
count1
highlights
0"silence"
1"lilt"
2"unspoken"
3"stomach"
4"pulse"
5"shattered"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells2
narrationSentences122
matches
0"n in love"
1"was afraid"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences122
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences166
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen57
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2159
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions27
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions44
wordCount1462
uniqueNames14
maxNameDensity0.89
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Rory"
discoveredNames
Pre-Law1
Ptolemy3
Moreau1
Eva4
Rory13
Close1
August1
Lucien10
Wanted2
Avaros1
Earth1
Cardiff1
Evan2
Trying3
persons
0"Ptolemy"
1"Moreau"
2"Eva"
3"Rory"
4"Lucien"
5"Evan"
places
0"August"
1"Avaros"
2"Earth"
3"Cardiff"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences74
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2159
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences166
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs75
mean28.79
std27.12
cv0.942
sampleLengths
035
13
26
312
447
54
653
74
815
92
1050
1128
126
1313
1440
1537
166
1729
1844
194
2014
2111
228
233
2411
2511
2663
275
2842
298
3037
3126
322
3356
3416
3556
3649
3711
382
3946
4029
4112
428
43122
4466
4535
462
4724
4840
491
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences122
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs267
matches
0"were running"
1"was like drowning"
2"was already moving"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences166
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1468
adjectiveStacks0
stackExamples(empty)
adverbCount57
adverbRatio0.0388283378746594
lyAdverbCount18
lyAdverbRatio0.01226158038147139
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences166
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences166
mean13.01
std11.3
cv0.869
sampleLengths
017
15
213
33
44
51
61
712
831
96
103
117
124
1324
1415
1514
164
1713
182
192
205
2122
2223
234
244
2520
263
273
287
296
3020
3111
329
339
3428
356
3614
377
385
393
4011
416
424
433
4420
454
465
479
483
498
36.14% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats23
diversityRatio0.29518072289156627
totalSentences166
uniqueOpeners49
30.86% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences108
matches
0"Somewhere in the flat, Ptolemy"
ratio0.009
27.41% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount52
totalSentences108
matches
0"She didn't move."
1"she called, though her voice"
2"She crossed the small living"
3"He held his ivory-handled cane"
4"His heterochromatic eyes, one amber,"
5"She stepped aside, gesturing him"
6"He didn't offer to leave."
7"He simply stepped across the"
8"He didn't look at her"
9"She reached for the bottle"
10"He caught it without thanks,"
11"He set the glass down,"
12"She laughed, sharp and humourless."
13"He pushed off from the"
14"He stopped, jaw tightening"
15"He gestured at her, at"
16"She couldn't say it."
17"she said finally"
18"His voice cracked, just slightly,"
19"He broke off, pressing the"
ratio0.481
29.44% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount93
totalSentences108
matches
0"The knock came at 11:47"
1"Rory set down her pen."
2"The case notes for her"
3"She didn't move."
4"The knock came again."
5"she called, though her voice"
6"She crossed the small living"
7"The deadbolts clicked open in"
8"Eva's paranoia had rubbed off"
9"The door swung inward."
10"Lucien Moreau stood in the"
11"He held his ivory-handled cane"
12"His heterochromatic eyes, one amber,"
13"She stepped aside, gesturing him"
14"He didn't offer to leave."
15"He simply stepped across the"
16"Rory closed the door."
17"He didn't look at her"
18"She reached for the bottle"
19"He caught it without thanks,"
ratio0.861
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences108
matches(empty)
ratio0
23.81% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences36
technicalSentenceCount6
matches
0"She crossed the small living room, past the sofa where Ptolemy slept curled in a sunbeam that had vanished hours ago, past the tower of legal textbooks stacked …"
1"Turned to find him already in her kitchen, running a hand through his sodden hair, water pooling on the linoleum."
2"Trying to survive a man who had loved her with the kind of devotion that left bruises, metaphorical and otherwise."
3"Desperate in a different way, the desperation of two people who had lost too much time and refused to lose any more."
4"Rory felt his hands slide down her waist, pulling her closer, and she arched into him, her fingers tangling in his wet hair, and somewhere in the chaos of it, s…"
5"The knock came then, sharp and insistent, a sound that shattered the moment like glass."
41.67% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags42
uselessAdditionCount7
matches
0"she called, though her voice came out rougher than she intended"
1"Lucien said, not unkindly"
2"He stopped, jaw tightening"
3"He laughed, broken"
4"She stepped, her forehead nearly touching his"
5"Lucien's forehead rested, his voice rough"
6"He kissed, her eyelids, the tip of her nose"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount3
fancyTags
0"He laughed (laugh)"
1"she whispered (whisper)"
2"she whispered (whisper)"
dialogueSentences86
tagDensity0.116
leniency0.233
rawRatio0.3
effectiveRatio0.07
81.6656%