Run: 2026-10-06-01M48W1RRMY4DGPEK5Y7TPEGYY

Run Details

Duration:
51.9s
Cost:
$0.008443
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 heel of Quinn's boot struck the suspect's knee. He folded, gasping, and she drove her shoulder into his back before the cuffs closed with a sound like a door locking. "Stay down." She didn't wait. Her radio crackled with static, then a voice she knew too well: "All units, suspect detained on Berwick Street. Repeat, suspect detained." Quinn's thumb found the transmit button. "This is Detective Quinn. I need backup at the Raven's Nest. Now." Static. Then: "Detective Quinn, you are not cleared for—" She cut the channel and hauled the suspect upright by his collar. His face was young, terrified, nothing like the photographs she'd studied for three weeks. A courier. A mule. The clique always used disposable pieces. "Where's Silas?" The suspect's eyes darted left, toward the alley mouth where the green neon of the Raven's Nest flickered against the wet cobblestones. "I don't know. I swear to God, I don't know who you mean." Quinn's jaw tightened. She'd tailed him from a warehouse in King's Cross, through three Tube stations, past a dozen dead drops. He'd made the exchange at midnight precisely, a small leather satchel for a bone token that glinted dully in the streetlight. The token was the key. The Veil Market moved every full moon, and tonight was the full moon. She marched him toward the bar, her free hand resting on her sidearm. The Raven's Nest smelled of spilled ale and old parchment, its walls papered with maps of rivers that no longer existed and photographs of faces that had stopped being human decades ago. A woman with silver hair played a battered piano in the corner, her fingers moving through a melody that sounded almost like a lullaby. Quinn pushed the suspect through the crowd. The bartender, a man with a scar that split his eyebrow, looked up from polishing a glass. "Back room's members only, Detective." "I know who you are." Quinn slammed her warrant card on the bar. The glass jumped. "Silas Vane. Where is he?" The bartender's eyes flicked to the bookshelf behind the bar, its shelves heavy with first editions and water-damaged ledgers. Then back to her face. "No idea what you're talking about." The suspect made a sound, a whimper, and Quinn's boot connected with his shin. He crumpled to the floor, silent after that. "Your friend just gave you a bone token," Quinn said. "I saw the exchange. The Veil Market opens tonight. I need to know if Silas is going." The bartender set down his cloth. For a moment, the piano faltered, a wrong note hanging in the air. "You don't understand what you're asking." "I understand that three people are dead and a fourth is missing, and every thread leads to your back room." Quinn leaned across the bar, close enough to smell the gin on his breath. "Move the bookshelf, or I'll have a dozen officers here in twenty minutes. Your choice." The scarred man's hand drifted toward his waist. Quinn's hand closed on his wrist, her grip iron-tight, the leather of her watch strap pressing against his pulse point. "Don't." She felt him hesitate. The piano started again, the melody smoother now, almost hypnotic. The crowd around them seemed to thicken, faces turning, watching. Quinn didn't look away from the bartender's eyes. "Twenty minutes," she said. "That's how long you have before this place is crawling with uniforms. The Market moves at moonrise. If Silas is going, I'm going too." The bartender's jaw worked. He nodded, once, and stepped back from the bar. He reached for the bookshelf, his fingers finding a seam in the wood, and pulled. The shelf swung inward with a whisper of dust and old air, revealing a narrow staircase spiralling down into darkness. The smell hit Quinn immediately: ozone and something sweeter, like rotting flowers. The scent of the supernatural, though she didn't have a name for it yet. Not officially. "Down," the bartender said. "Third door on your left. But Detective..." He paused, his scarred face catching the green neon from the street above. "You don't have a token." "I have a prisoner." Quinn shoved the suspect forward. "He has a token. He'll get us in." The bartender laughed, a dry sound like paper tearing. "Tokens aren't transferable. The Market knows its own." Quinn's hand tightened on the suspect's collar. "Then we'll see what the Market knows about a Metropolitan Police detective who's lost a partner to whatever lives down here." She didn't wait for a response. She pushed the suspect down the stairs, her other hand on her sidearm, her eyes adjusting to the dark. The staircase curved sharply, the walls close and damp, the air growing colder with every step. Behind her, the bartender called something she couldn't hear, a warning or a farewell, she didn't know which. The stairs opened onto a corridor lit by gas lamps that burned with a flame too blue to be natural. Doors lined both sides, heavy oak reinforced with iron bands, each one marked with a symbol Quinn didn't recognise. Some looked like letters. Others looked like wounds. The suspect stumbled ahead of her, his hands still cuffed behind his back, his breathing ragged. "Please. I don't want to go in there. I don't want to—" "Keep walking." They passed a door that rattled from within, a sound like fingernails on wood. Quinn's hand moved to her radio, but she knew it wouldn't work down here. The supernatural had its own rules, its own dead zones. She'd learned that the hard way, three years ago, when Morris had stepped into a doorway that shouldn't have existed and simply... stopped. She thought of his face in the morgue, or what they'd found of him. The official report said heart attack. Quinn knew better. She'd seen the photographs, the ones they didn't show the family. The ones that showed his eyes, wide and terrified, frozen in a moment that had lasted too long. "How far?" she asked. The suspect didn't answer. His eyes were fixed on something ahead, his breath coming in short, sharp gasps. Quinn followed his gaze and saw it: a door at the corridor's end, larger than the others, its surface covered in a mosaic of bone. Human bone, she realised with a chill. Thousands of fragments, fitted together like a puzzle, forming a pattern that hurt to look at directly. A figure stood before it. Tall, thin, dressed in a coat that seemed to absorb the blue light. The face was wrong, somehow, the features too smooth, too symmetrical, like a mask worn by something that had forgotten what faces were supposed to look like. "Silas Vane," Quinn said. The figure turned. Its eyes were black, completely black, no white, no pupil, just void. "Detective Quinn. I wondered when you'd arrive." "Where are the others? The missing persons. The ones you took." "Took?" The smile that spread across that too-smooth face didn't reach the eyes. "I prefer to think of it as... invited. They wanted to see what lies beneath London. Beneath the skin of the city. Most people never get the chance." Quinn's finger tightened on the trigger. "Release them. Now. Or I'll put a round through whatever skull you're wearing." Silas laughed, a sound like breaking glass. "Your weapon won't function down here, Detective. The Market has its own laws. Its own physics." He gestured to the bone door. "But I admire your persistence. Morris admired it too, before he realised what he was dealing with." The name hit Quinn like a physical blow. She stumbled, her balance faltering, and for a moment she saw Morris's face, not as he'd been in the morgue, but alive, terrified, reaching for something she couldn't see. "What did you do to him?" "What I do to all who seek what shouldn't be sought." Silas stepped closer, and Quinn smelled him now, the rotting flowers and something else, something metallic and wrong. "He came to me, you know. Voluntarily. He wanted to understand. To join." The black eyes gleamed. "He's still here, Detective. Still part of the Market. Would you like to see him?" Quinn raised her weapon, her hands shaking. The gun felt dead in her grip, its weight suddenly meaningless. She thought of eighteen years of service, of cases closed and criminals imprisoned, of a justice system that had never prepared her for this. For doors that opened onto places that shouldn't exist. For men who wore faces like masks and spoke of her dead partner as though he were a favour owed. "Last chance," she said, and her voice sounded strange in the blue-lit corridor, too loud, too human. "Release the prisoners. Walk away. I'll forget I saw any of this." Silas tilted his head, a gesture almost curious. "You can't forget, Detective. The Market remembers everyone who enters. It always remembers." He reached into his coat and withdrew something small and white. A bone token, identical to the one she'd seen exchanged on Berwick Street. "But I'll make you an offer. Join me. Help me find the others, the ones who still resist. In return, I'll show you Morris. Let you speak with him. One last time." Quinn's breath came fast, her chest tight. She thought of Morris's laugh, his terrible jokes, the way he'd always saved her the last biscuit from the packet. She thought of the empty chair at her kitchen table, the unanswered questions, the dreams where he stood at the foot of her bed and mouthed words she couldn't hear. "He's dead," she whispered. "Is he?" Silas held out the token, letting it catch the blue light. "The Market doesn't distinguish between living and dead, Detective. Only between those who belong and those who don't. Morris belongs now. And so, perhaps, do you." The bone door behind Silas began to open, the fragments shifting and grinding, revealing a darkness that seemed to breathe. From within came sounds: voices, many voices, some human, some not, all of them calling out names Quinn didn't recognise. Names that sounded like hers. She looked at the suspect, still stumbling forward, his face turned toward the opening door with an expression of terrible longing. She looked at Silas, patient and terrible and ancient, waiting for her answer. She looked at the token in his hand, the key to everything she'd lost and everything she might become. Quinn released the suspect's collar. She stepped forward, her boots ringing on the stone floor, and took the token from Silas's outstretched hand. The moment her fingers touched it, the corridor went silent. The voices stopped. Even the blue flames seemed to hold their breath. "Good choice, Detective," Silas said, and his smile reached his black eyes at last. "The Market has been waiting for someone with your particular talents. Someone who understands that the law is merely... a suggestion." He turned and walked toward the bone door, which had opened wide enough to reveal a staircase spiralling down into absolute dark. The suspect followed, no longer struggling, his face peaceful now, almost happy. Quinn looked back once, at the corridor she'd descended, at the world she'd left behind. Her radio was dead. Her backup was twenty minutes away, if they could even find the entrance. She was alone, armed with a weapon that wouldn't fire, carrying a token that marked her as property. She thought of Morris, wherever he was, whatever he'd become. She thought of the missing persons, the dead ones, the ones who'd walked through doors like this and never returned. Then she stepped forward, following Silas into the dark, and the bone door closed behind her with a sound like a final, irrevocable lock.
created_at"2026-10-06T15:06:56.157Z" 10/6/2026, 3:06:56 PM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1076
moderation_latency(null)
generation_time51875
tokens_prompt4484
tokens_completion2895
native_tokens_prompt4293
native_tokens_completion2643
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"
usage0.00844311
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1791299216-ayeWOcUqJI7Knw7Hedzd"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1791299216-KcdabEmFy1nZzkdnP421"
upstream_id"a34b8cb736df4b9cb2d2ae2cf53a370d"
provider_responses
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endpoint_id"540e63db-cc7c-4556-bb67-d449579bcf1a"
id"a34b8cb736df4b9cb2d2ae2cf53a370d"
is_byokfalse
latency1073
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
status200
total_cost0.00844311
cache_discount(null)
upstream_inference_cost0
provider_name"Mistral"
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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
totalTags18
adverbTagCount0
adverbTags(empty)
dialogueSentences49
tagDensity0.367
leniency0.735
rawRatio0
effectiveRatio0
89.75% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1951
totalAiIsmAdverbs4
found
0
adverb"precisely"
count1
1
adverb"sharply"
count1
2
adverb"completely"
count1
3
adverb"suddenly"
count1
highlights
0"precisely"
1"sharply"
2"completely"
3"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)
79.50% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1951
totalAiIsms8
found
0
word"flickered"
count1
1
word"eyebrow"
count1
2
word"flicked"
count1
3
word"pulse"
count1
4
word"whisper"
count1
5
word"mosaic"
count1
6
word"chill"
count1
7
word"weight"
count1
highlights
0"flickered"
1"eyebrow"
2"flicked"
3"pulse"
4"whisper"
5"mosaic"
6"chill"
7"weight"
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
narrationSentences126
matches(empty)
74.83% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount5
narrationSentences126
filterMatches
0"watch"
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences155
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen34
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1951
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions17
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions50
wordCount1468
uniqueNames12
maxNameDensity1.77
worstName"Quinn"
maxWindowNameDensity3.5
worstWindowName"Quinn"
discoveredNames
Quinn26
Raven2
Nest2
King1
Cross1
Tube1
Veil1
Market1
Morris4
Silas9
Berwick1
Street1
persons
0"Quinn"
1"Raven"
2"Nest"
3"King"
4"Cross"
5"Market"
6"Morris"
7"Silas"
places
0"Berwick"
1"Street"
globalScore0.614
windowScore0.5
97.37% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences95
glossingSentenceCount2
matches
0"coat that seemed to absorb the blue light"
1"darkness that seemed to breathe"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.513
wordCount1951
matches
0"not as he'd been in the morgue, but alive, terrified, reaching for something she couldn't see"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences155
matches
0"learned that the"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs61
mean31.98
std19.28
cv0.603
sampleLengths
031
12
225
318
49
536
62
735
860
969
1024
115
1221
1330
1422
1527
1625
1749
1828
191
2032
2128
2228
2348
2429
2517
2617
2728
2859
2947
3028
312
3261
3352
344
3567
3645
374
3822
3911
4041
4119
4246
4337
446
4561
4671
4729
4877
4957
99.69% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences126
matches
0"were fixed"
1"were supposed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs252
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences155
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1472
adjectiveStacks0
stackExamples(empty)
adverbCount50
adverbRatio0.033967391304347824
lyAdverbCount10
lyAdverbRatio0.006793478260869565
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences155
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences155
mean12.59
std7.66
cv0.608
sampleLengths
09
122
22
33
422
56
612
71
88
912
1014
112
122
136
142
1522
1613
173
1818
1921
205
2113
2213
2332
2424
257
2617
275
2813
293
305
3119
325
336
3414
358
3610
3717
386
3913
406
4134
4215
438
4420
451
464
4710
4810
498
43.23% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats18
diversityRatio0.32903225806451614
totalSentences155
uniqueOpeners51
86.96% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences115
matches
0"Then back to her face."
1"Even the blue flames seemed"
2"Then she stepped forward, following"
ratio0.026
87.83% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount38
totalSentences115
matches
0"He folded, gasping, and she"
1"She didn't wait."
2"Her radio crackled with static,"
3"She cut the channel and"
4"His face was young, terrified,"
5"She'd tailed him from a"
6"He'd made the exchange at"
7"She marched him toward the"
8"He crumpled to the floor,"
9"She felt him hesitate."
10"He nodded, once, and stepped"
11"He reached for the bookshelf,"
12"He paused, his scarred face"
13"She didn't wait for a"
14"She pushed the suspect down"
15"They passed a door that"
16"She'd learned that the hard"
17"She thought of his face"
18"She'd seen the photographs, the"
19"His eyes were fixed on"
ratio0.33
3.48% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount105
totalSentences115
matches
0"The heel of Quinn's boot"
1"He folded, gasping, and she"
2"She didn't wait."
3"Her radio crackled with static,"
4"Quinn's thumb found the transmit"
5"She cut the channel and"
6"His face was young, terrified,"
7"The clique always used disposable"
8"The suspect's eyes darted left,"
9"Quinn's jaw tightened."
10"She'd tailed him from a"
11"He'd made the exchange at"
12"The token was the key."
13"The Veil Market moved every"
14"She marched him toward the"
15"The Raven's Nest smelled of"
16"A woman with silver hair"
17"Quinn pushed the suspect through"
18"The bartender, a man with"
19"Quinn slammed her warrant card"
ratio0.913
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences115
matches(empty)
ratio0
62.21% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences62
technicalSentenceCount7
matches
0"The Raven's Nest smelled of spilled ale and old parchment, its walls papered with maps of rivers that no longer existed and photographs of faces that had stoppe…"
1"They passed a door that rattled from within, a sound like fingernails on wood."
2"Thousands of fragments, fitted together like a puzzle, forming a pattern that hurt to look at directly."
3"The face was wrong, somehow, the features too smooth, too symmetrical, like a mask worn by something that had forgotten what faces were supposed to look like."
4"She stumbled, her balance faltering, and for a moment she saw Morris's face, not as he'd been in the morgue, but alive, terrified, reaching for something she co…"
5"The bone door behind Silas began to open, the fragments shifting and grinding, revealing a darkness that seemed to breathe."
6"He turned and walked toward the bone door, which had opened wide enough to reveal a staircase spiralling down into absolute dark."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags18
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount0
fancyTags(empty)
dialogueSentences49
tagDensity0.143
leniency0.286
rawRatio0
effectiveRatio0
85.8279%