Run: 2026-10-06-01M48VN79ARH8V908XFK3BN5T3

Run Details

Duration:
49.5s
Cost:
$0.006332
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 split the silence of Rory's flat like a gunshot. She froze, chopsticks hovering over the container of leftover mapo tofu. The Golden Empress delivery bag still sat by the door, Yu-Fei's phone number glowing on her screen from a missed call twenty minutes ago. She'd been eating alone, as usual, Ptolemy curled on the windowsill watching her with the judgment of a creature who'd seen better life choices. The knock came again. Louder. Impatient. Rory set down her chopsticks. The scar on her left wrist itched, that old phantom sensation she got before bad things happened. "Who is it?" Her voice came out rougher than intended. Silence. Then, softly, with that accent she'd tried to forget: "It's me." She knew that voice. Three years of silence, and she knew it the way you know your own heartbeat. Rory stood. The chair scraped against the floorboards. She walked to the door, each step deliberate, and peered through the peephole. Lucien Moreau filled the frame. Platinum hair slicked back, charcoal suit immaculate despite the hour, one amber eye and one black eye fixed on the peephole with an expression she couldn't read. His ivory-handled cane rested against his leg, casual as a cigarette. She opened the door. He didn't move. Just stood there, rain dripping from his hair onto the threadbare rug she'd bought from a charity shop in Camden, and looked at her like she was a door he'd forgotten how to open. "You're wet," she said. "London." He smiled, and it didn't reach those mismatched eyes. "Always." "What do you want, Lucien?" The smile vanished. He stepped inside before she could refuse, and the door clicked shut behind him with a finality that made her stomach clench. He turned to face her, and she saw the exhaustion in the set of his shoulders, the way his cane tapped once against the floorboards like a metronome counting down to something. "I need a place to stay." "There are hotels." "There are reasons." He ran a hand through his wet hair, water darkening the charcoal of his suit. "Reasons I can't explain yet. Reasons that make hotels... inadvisable." Rory crossed her arms. The crescent scar on her wrist pressed against her sleeve. "You disappeared for three years. No explanation, no goodbye, nothing. And now you're standing in my flat at midnight like I owe you something." "I don't expect anything." "Then leave." He moved then, quick as striking water, and she flinched back against the kitchen counter. But he only reached past her, plucked her phone from the counter where she'd left it, and read the screen. His jaw tightened. "Yu-Fei Cheung," he said. Not a question. "My employer." "Employer." He set the phone down with deliberate care. "Rory. I know what you are now." The blood drained from her face. "What?" "Malphora." The word fell between them like a blade. "The name they use in Avaros. The name your father's enemies whisper when they think no one's listening." He stepped closer, close enough that she could smell rain and something darker, something that made her think of old churches and burning incense. "I know what Evan did to you. I know what you ran from. And I know why you're really working for a restaurant that delivers to addresses that don't exist." Rory's hand found the counter's edge. "You don't know anything." "I know you're in danger." His amber eye caught the lamplight, feline and ancient. "I know the Hollow King has found your trail. And I know that if I don't get you somewhere safe before the new moon, you'll be dead by morning." "This is absurd." But her voice lacked conviction. She thought of the deliveries she'd made to empty flats, the coded messages in fortune cookies, the way Yu-Fei's smile never quite reached his eyes. She thought of Eva's flat on Brick Lane, walls covered in research notes about something called the Veil, about thin places and hungry things. "You're talking about demons. Magic. You left me because of this, didn't you? Because you couldn't protect me from whatever you are." "I left because I loved you." The words hung in the air, raw and unexpected. "And because loving you made me weak, and weakness in my world means death. For me. For you. For anyone I touch." He laughed, a broken sound. "I was a fool. I thought distance would keep you safe. I thought if I disappeared, they'd forget you existed." "They didn't forget." "No." He reached out, his fingers brushing her cheek with a gentleness that shattered something in her chest. "They didn't. And now they're coming for you, Rory. Tonight." The floorboards creaked. They both turned. Ptolemy sat in the doorway of the living room, his tabby fur bristling, a low growl rumbling in his throat. His eyes, usually placid and golden, were fixed on something behind Lucien. Something in the hallway. Something that wasn't there. Then the lights flickered. Rory's breath caught. The temperature dropped ten degrees in an instant, her breath clouding in the sudden cold. The windows rattled in their frames. And from the hallway, from the darkness beyond the reach of the kitchen light, came the sound of something dragging itself across the floorboards. Wet. Heavy. Wrong. "Not here," Lucien whispered. He moved, fast, pulling Rory behind him as his cane came up, the ivory handle twisting to reveal the thin blade within. "They followed me. They always follow." The dragging stopped. A wet, clicking sound, like a tongue against teeth. Then silence, heavy and waiting. "What is it?" Rory's voice barely carried above her hammering heart. "Avaros has many servants." Lucien's grip on her arm was iron, his mismatched eyes scanning the darkness. "This one's a collector. It takes what the Hollow King marks. It doesn't kill quickly. It likes to... savour." The lights died completely. In the sudden blackness, Rory felt Lucien pull her closer, his body a wall of heat against the cold that seeped through the flat's ancient walls. She heard him breathe, ragged and controlled, and she smelled the rain on his skin, the faint metallic tang of the blade he held ready. "Stay behind me," he said. "Lucien, I don't understand any of this. You left. You never explained. You just—" Her voice broke. "You just stopped calling." "I know." "And now you're here talking about demons and kings and collectors, and I don't know what's real anymore." She turned in his grip, facing him in the darkness. "I don't know if you're protecting me or using me or what. But I'm not a child, Lucien. I'm not some fragile thing you need to shield. I've been surviving without you for three years." The darkness between them seemed to pulse. When he spoke, his voice was barely audible. "You survived because I made sure of it. Every night, I watched from the shadows. Every time Evan came near, I was there. Every time you cried in the shower, I heard you." A pause. The sound of something scraping against the doorframe, close now, very close. "I couldn't touch you. Couldn't risk it. But I was always there, Rory. Always." She felt his hand find hers in the dark, his fingers lacing through hers with a familiarity that made her chest ache. "Why?" she whispered. "Why leave if you were going to watch?" "Because watching was all I could do. Because the man I was, the thing I am, he would have destroyed you to get to me." His thumb traced the crescent scar on her wrist, finding it without seeing it. "And because I was a coward. I thought if I loved you from far enough away, it wouldn't count. I thought I could be good for you by being nothing." The scraping stopped. The silence that followed was worse, a held breath in the dark. "Lucien." She squeezed his hand. "What do we do?" He turned, pulling her with him, and she felt him press his back against the wall beside the door. The collector was on the other side, she realized. Waiting. Listening. "There's a window in the bathroom," he murmured against her ear, his breath warm despite the cold. "Fire escape. Leads to the roof." "And then?" "And then we run. We get to Eva's. She has wards, protections. She can hide you until I can figure out how to break whatever trail they've followed." "Eva doesn't know about any of this. She thinks I'm just paranoid, that I'm still running from Evan." "Then we don't tell her. Not yet." His hand slid from hers to the cane at his side, the blade catching no light, reflecting no light. "Rory. Look at me." She couldn't see him. But she turned her face toward his voice anyway. "I need you to trust me. Not because I'm asking. Because if you don't, we both die tonight." His hand found her jaw, tilting her chin up. "I know I don't deserve it. I know I left, and I hurt you, and I never explained. But I'm here now. And I'm not leaving again. Not unless you make me." The darkness pressed closer. The temperature dropped further, and Rory's breath came in shallow clouds. Somewhere in the flat, something knocked over a chair, the crash echoing through the silence. "Okay," she whispered. Lucien smiled, and she felt it more than saw it, the shift in the air, the warmth that briefly touched her skin. "Good. Now hold on." He moved, and she moved with him, through the dark flat she knew by memory, past the sofa where she'd fallen asleep a thousand nights, past the kitchen where she'd eaten alone a thousand meals. The bathroom door loomed ahead, and she heard him fumble with the window, the latch sticking, his curses muttered in French. The hallway light flickered on. Not from the flat's electrical system. From something else. A pale, sickly glow that turned the darkness into shadows, into shapes, into the thing that had been waiting. Rory saw it. It filled the doorway, hunched and wrong, too many joints bending in directions that made her eyes water. Its skin hung loose, translucent, revealing veins that pulsed with black light. And its face, or what should have been a face, was smooth and blank, featureless as an egg, except for the mouth that stretched too wide, lined with needle teeth that clicked together like a rosary of bone. It tilted its head, studying her, studying Lucien, and when it smiled, the sound was wet and hungry. "Malphora," it said, and its voice was every whisper she'd ever heard in the dark. "The Hollow King has marked you. The collector comes to take what is his." Lucien shoved her toward the window. "Go! Now!" "I'm not leaving you!" "Yes, you are!" He turned to face the creature, blade raised, and for a moment he was the man she'd loved, the man who'd made her feel safe in a world that never was. "You want her? You go through me." The collector lunged. Rory didn't think. She moved, scrambling onto the windowsill, the fire escape cold and wet beneath her palms. She looked back once, just once, and saw Lucien meet the creature's charge, saw the blade flash in the sickly light, saw the spray of black ichor that wasn't blood. Then she was climbing, down, down, the metal rungs biting into her palms, the alley below a promise of escape or death. She hit the ground running, not looking back, not stopping, her heart hammering against her ribs like a bird desperate to escape. Behind her, the window shattered. She ran.
created_at"2026-10-06T15:00:05.041Z" 10/6/2026, 3:00:05 PM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency948
moderation_latency(null)
generation_time49524
tokens_prompt4383
tokens_completion2850
native_tokens_prompt4234
native_tokens_completion2698
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached3584
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"
usage0.0063317
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
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request_id"req-1791298805-PzWl2Z8ecV3BsmjuDEyF"
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api_type"completions"
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upstream_id"c2cfe6117ea540fbb00caf48adc50257"
provider_responses
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endpoint_id"19b3b5d7-23f6-4b63-8109-64a6cc37d996"
id"c2cfe6117ea540fbb00caf48adc50257"
is_byokfalse
latency948
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
status200
total_cost0.0063317
cache_discount0.00437248
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provider_name"Mistral"
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data_region"global"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags29
adverbTagCount0
adverbTags(empty)
dialogueSentences68
tagDensity0.426
leniency0.853
rawRatio0
effectiveRatio0
87.21% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1955
totalAiIsmAdverbs5
found
0
adverb"softly"
count1
1
adverb"really"
count1
2
adverb"quickly"
count1
3
adverb"completely"
count1
4
adverb"very"
count1
highlights
0"softly"
1"really"
2"quickly"
3"completely"
4"very"
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)
46.29% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1955
totalAiIsms21
found
0
word"silence"
count6
1
word"stomach"
count1
2
word"whisper"
count2
3
word"coded"
count1
4
word"shattered"
count2
5
word"flickered"
count2
6
word"scanning"
count1
7
word"pulse"
count1
8
word"traced"
count1
9
word"echoing"
count1
10
word"warmth"
count1
11
word"loomed"
count1
12
word"pulsed"
count1
highlights
0"silence"
1"stomach"
2"whisper"
3"coded"
4"shattered"
5"flickered"
6"scanning"
7"pulse"
8"traced"
9"echoing"
10"warmth"
11"loomed"
12"pulsed"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences121
matches(empty)
83.83% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount2
narrationSentences121
filterMatches
0"know"
1"think"
2"feel"
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)
analyzedSentences159
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen42
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1955
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions18
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions35
wordCount1319
uniqueNames14
maxNameDensity0.91
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Rory12
Golden1
Empress1
Yu-Fei2
Ptolemy2
Silence1
Moreau1
Camden1
Eva1
Brick1
Lane1
Veil1
Lucien9
French1
persons
0"Rory"
1"Yu-Fei"
2"Ptolemy"
3"Moreau"
4"Eva"
5"Lucien"
places
0"Silence"
1"Camden"
2"Brick"
3"Lane"
4"French"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences72
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1955
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences159
matches
0"knew that voice"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs79
mean24.75
std21.27
cv0.86
sampleLengths
019
159
26
322
410
512
619
721
843
94
1037
114
1211
135
1457
156
163
1728
1838
194
202
2138
227
232
2416
257
2681
2710
2843
2979
3062
313
3228
336
3440
354
3651
3732
3817
3911
4036
414
4251
435
4421
452
4663
4715
4861
4933
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences121
matches
0"were fixed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs240
matches
0"was climbing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences159
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1322
adjectiveStacks1
stackExamples
0"loose, translucent, revealing veins"
adverbCount36
adverbRatio0.02723146747352496
lyAdverbCount9
lyAdverbRatio0.00680786686838124
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences159
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences159
mean12.3
std10.2
cv0.83
sampleLengths
019
111
224
324
44
51
61
75
817
910
101
1111
124
1315
142
156
1613
175
1827
1911
204
213
2234
234
2410
251
265
273
2822
2932
306
313
3218
3310
344
3510
3624
374
382
3915
4020
413
424
433
442
459
467
476
481
499
50.52% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.3522012578616352
totalSentences159
uniqueOpeners56
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences104
matches
0"Then, softly, with that accent"
1"Just stood there, rain dripping"
2"Then the lights flickered."
3"Then silence, heavy and waiting."
4"Somewhere in the flat, something"
5"Then she was climbing, down,"
ratio0.058
50.77% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount44
totalSentences104
matches
0"She froze, chopsticks hovering over"
1"She'd been eating alone, as"
2"Her voice came out rougher"
3"She knew that voice."
4"She walked to the door,"
5"His ivory-handled cane rested against"
6"She opened the door."
7"He didn't move."
8"He smiled, and it didn't"
9"He stepped inside before she"
10"He turned to face her,"
11"He ran a hand through"
12"He moved then, quick as"
13"His jaw tightened."
14"He set the phone down"
15"He stepped closer, close enough"
16"His amber eye caught the"
17"She thought of the deliveries"
18"She thought of Eva's flat"
19"He laughed, a broken sound"
ratio0.423
46.54% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount86
totalSentences104
matches
0"The knock came at 11:47"
1"She froze, chopsticks hovering over"
2"The Golden Empress delivery bag"
3"She'd been eating alone, as"
4"The knock came again."
5"Rory set down her chopsticks."
6"The scar on her left"
7"Her voice came out rougher"
8"She knew that voice."
9"The chair scraped against the"
10"She walked to the door,"
11"Lucien Moreau filled the frame."
12"Platinum hair slicked back, charcoal"
13"His ivory-handled cane rested against"
14"She opened the door."
15"He didn't move."
16"He smiled, and it didn't"
17"The smile vanished."
18"He stepped inside before she"
19"He turned to face her,"
ratio0.827
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences104
matches(empty)
ratio0
23.81% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences42
technicalSentenceCount7
matches
0"She'd been eating alone, as usual, Ptolemy curled on the windowsill watching her with the judgment of a creature who'd seen better life choices."
1"In the sudden blackness, Rory felt Lucien pull her closer, his body a wall of heat against the cold that seeped through the flat's ancient walls."
2"She felt his hand find hers in the dark, his fingers lacing through hers with a familiarity that made her chest ache."
3"It filled the doorway, hunched and wrong, too many joints bending in directions that made her eyes water."
4"And its face, or what should have been a face, was smooth and blank, featureless as an egg, except for the mouth that stretched too wide, lined with needle teet…"
5"It tilted its head, studying her, studying Lucien, and when it smiled, the sound was wet and hungry."
6"She hit the ground running, not looking back, not stopping, her heart hammering against her ribs like a bird desperate to escape."
73.28% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags29
uselessAdditionCount3
matches
0"He ran, water darkening the charcoal of his suit"
1"His hand slid, the blade catching no light, reflecting no light"
2"it said, and its voice was every whisper she'd ever heard in the dark"
76.47% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount5
fancyTags
0"He laughed (laugh)"
1"Lucien whispered (whisper)"
2"she whispered (whisper)"
3"he murmured (murmur)"
4"she whispered (whisper)"
dialogueSentences68
tagDensity0.132
leniency0.265
rawRatio0.556
effectiveRatio0.147
84.4239%