Run: 2026-10-07-01M4ATANZCP79CQJTB5Z0VDB5F

Run Details

Duration:
23.7s
Cost:
$0.025097
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 door rattled under the third knock, each strike sharper than the last. Aurora tightened her grip on the chipped mug, the tea inside long gone cold. She wasn’t expecting anyone, least of all at this hour. Ptolemy, the tabby cat, arched his back from his perch on the windowsill, tail flicking like a metronome set to *annoyed*. The knock came again, this time accompanied by a voice smooth as aged whisky. "Rory. I know you're in there." Her breath hitched. That voice—she’d know it in a crowd of a thousand, in a storm, in the dark. Lucien. The name settled in her chest like a stone dropped into still water. The deadbolts clicked as she turned the first one, then the second, then the third. The door swung open before she could change her mind. Lucien Moreau stood in the dim hallway, his platinum blond hair slicked back, the heterochromatic gaze—amber and black—fixed on her with unsettling intensity. The tailored charcoal suit he wore looked as though it had been painted onto him, the ivory-handled cane resting against his shoulder like an afterthought. He didn’t smile. Didn’t frown. Just watched her, as if she were a puzzle he’d been trying to solve for years. "Luc," she said, the word slipping out before she could stop it. Her voice was steadier than she felt. His eyes flicked to the mug in her hand, then back to her face. "Still drinking that swill Eva calls tea?" The jab was familiar, the tone light, but the air between them was thick enough to cut with a knife. She stepped back, leaving the door open. An invitation. A challenge. "What do you want?" He didn’t move. "Can’t a man visit an old friend?" "Cut the shite." She set the mug down on the nearest stack of books, the porcelain clinking against the paper. "You don’t do *friendly*." A muscle in his jaw twitched. Then, slowly, he stepped inside, the scent of sandalwood and something darker—something like gunpowder and old parchment—filling the space as he passed her. Ptolemy hissed from the windowsill, his fur puffing up. Lucien ignored the cat. His gaze swept over the flat, taking in the towers of books, the scrolls pinned to the walls with red string connecting them like some mad scholar’s web. "You’ve been busy." "None of your business." She crossed her arms, the crescent-shaped scar on her left wrist catching the light as she did. "Why are you here, Luc?" He turned to face her, the cane tapping once against the floor. "I need your help." The words hung between them. Aurora’s pulse spiked. The last time he’d said those words, she’d ended up with a knife in her hand and a demon’s blood on her shoes. The last time she’d *trusted* him, she’d woken up alone in a Marseille alley with a bruised heart and a head full of questions. She laughed, the sound sharp. "That’s rich. You need *my* help?" His expression didn’t change. "There’s a job. Something… delicate." "Delicate." She repeated the word like it was a curse. "That’s your word for *dangerous*." "Semantics." He shrugged, but the movement was too precise, too controlled. "The point is, I can’t do it alone." "And you thought of me because…?" "Because you’re the only one who’s ever walked away from me and lived to tell the tale." The words hit like a punch. She wanted to slap him. Kiss him. Both. Instead, she turned away, putting the width of the room between them. The bookshelves loomed like sentinels, their spines a rainbow of worn leather and faded gold lettering. "That’s not an answer." He followed her, his footsteps silent despite the cane. "You’re clever. Resourceful. And you don’t scare easily." "Flattery won’t work on me, Luc." "It’s not flattery if it’s true." He stopped just behind her, close enough that she could feel the heat radiating off him. "I need someone who can think on their feet. Someone who won’t freeze when things go sideways." She spun to face him, her shoulder brushing against a stack of books. They wobbled, and she caught them before they could fall. "And what makes you think I’d say yes?" His gaze dropped to her lips, then back to her eyes. "Because you’re still here, Rory. Because if you didn’t care, you’d have told me to fuck off the second you saw me at the door." She wanted to deny it. Wanted to tell him he was wrong, that she didn’t give a damn about him or his problems. But the truth was a stubborn thing. It sat in her chest, heavy and undeniable. "Fine," she said, the word clipped. "What’s the job?" A slow, knowing smile curled his lips. "Now *that* is the Rory I remember." She rolled her eyes, but the corner of her mouth twitched despite herself. "Don’t push it." He reached into his jacket, pulling out a folded piece of parchment. The paper was yellowed with age, the edges frayed. "There’s a relic. An old one. Stolen from a collector in Whitechapel." Aurora took the parchment, unfolding it carefully. The drawing was intricate—a dagger with a hilt shaped like a serpent, its mouth open as if ready to strike. The blade was inscribed with symbols that made her fingers tingle. "And you want me to…?" "Retrieve it." His voice was low, serious now. "Before the wrong people get their hands on it." She looked up at him. "And by *wrong people*, you mean…?" "Demons. The kind that don’t just want to play." A chill ran down her spine. She knew that tone. Knew the weight of what he wasn’t saying. "And why can’t *you* retrieve it?" His jaw tightened. "Because the collector who owned it? He’s dead. And the last person seen with the dagger was someone I… have history with." Aurora’s stomach twisted. "History." "Complicated history." She exhaled sharply. "Of course it is." She studied the drawing again, the serpent’s eyes seeming to follow her. "And what’s in it for me?" Lucien’s fingers brushed against the cane, the movement almost imperceptible. "Money. Enough to get you out of this flat. Out of London, if that’s what you want." The offer was tempting. More than tempting. But Aurora had learned the hard way that Lucien’s gifts always came with strings attached. "And if I say no?" He didn’t answer right away. Instead, he reached out, his fingers grazing the back of her hand. The touch was electric, sending a jolt through her that she refused to acknowledge. "Then I’ll find someone else. But I’d rather it be you." She pulled her hand away, but not before she felt the callouses on his fingers, the warmth of his skin. "You’re a bastard, you know that?" His smile was back, but this time it didn’t reach his eyes. "So I’ve been told." Aurora looked down at the parchment again, the serpent’s gaze seeming to bore into her. She could say no. Could shut the door in his face and go back to her quiet, complicated, *safe* life. But then, she’d never been one to play it safe. "Fine," she said, the word heavy. "But I’m not doing this for you." Lucien’s eyebrow quirked. "No?" "No." She met his gaze, unflinching. "I’m doing it for me." For a moment, he just looked at her, his expression unreadable. Then, slowly, he nodded. "Fair enough." She folded the parchment, tucking it into the back pocket of her jeans. "When do we start?" His smile this time was genuine, if a little sharp. "Now." Aurora didn’t have time to respond before the window behind them shattered. Glass rained into the room as a shadowy figure dropped from the fire escape, landing in a crouch. The intruder was tall, clad in black from head to toe, a mask obscuring their face. In their hand, a knife glinted under the flat’s dim light. Lucien moved faster than she could track, the cane snapping open to reveal the thin blade hidden inside. "Seems we’re out of time." Aurora didn’t hesitate. She grabbed the nearest heavy book—a first edition of *Dracula* Eva would kill her for using as a weapon—and hurled it at the intruder. The figure dodged, but the distraction was enough. Lucien lunged, the blade of his cane flashing. The intruder hissed, swinging their knife in a wide arc. Lucien parried, the metal clanging as the two blades met. Aurora didn’t wait to see the outcome. She grabbed Ptolemy, tossing him onto the bed before snatching a letter opener from Eva’s desk. It wasn’t much, but it was better than nothing. The intruder kicked out, catching Lucien in the ribs. He grunted, stumbling back, but didn’t drop his guard. Aurora saw her opening. She darted forward, the letter opener gripped tight in her fist. The intruder turned, sensing her movement. The knife came up, but Aurora was faster. She slashed, the letter opener catching the figure’s arm. A pained hiss filled the air as black blood welled from the cut. Lucien didn’t waste the moment. He drove his cane-blade forward, the tip catching the intruder in the shoulder. The figure staggered, then bolted for the window, diving through the broken glass. Aurora rushed to the window, peering out. The figure was already gone, swallowed by the shadows of Brick Lane. She turned back to Lucien, her heart pounding. "Well. That was…" "Expected?" He wiped the blade of his cane on his sleeve, then snapped it shut. "Perhaps not *tonight*, but yes." She glared at him. "You *knew* they’d come?" He met her gaze, unapologetic. "I suspected. The dagger’s not just valuable. It’s *powerful*." Aurora exhaled sharply, running a hand through her hair. "And you didn’t think to *warn* me?" Lucien’s expression softened, just for a second. "Would you have believed me?" She wanted to argue. Wanted to scream. But the truth was, she probably wouldn’t have. Not without proof. And now, the proof was smeared on her letter opener in the form of black, viscous blood. Ptolemy chose that moment to leap onto the windowsill, his tail flicking as he stared at the broken glass. Aurora sighed. "Eva’s going to kill me." Lucien’s lips twitched. "Priorities, Rory." She shot him a look. "What?" He gestured to the parchment still tucked in her pocket. "We have a dagger to find. And now, it seems, we have competition." Aurora looked down at the blood on her hands, then back up at Lucien. The night was far from over. And for the first time in a long time, she wasn’t sure if that was a good thing or a very, very bad one. "Right," she said, squaring her shoulders. "Let’s go."
created_at"2026-10-07T09:15:19.933Z" 10/7/2026, 9:15:19 AM
model"mistralai/mistral-medium-3.5-20260430"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2060
moderation_latency(null)
generation_time23652
tokens_prompt4383
tokens_completion2657
native_tokens_prompt4231
native_tokens_completion2500
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"
usage0.0250965
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1791364519-KXJB8CWlNj0ZrNmeY5og"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1791364519-PesFwcN5vbMHRVtgSsSk"
upstream_id"748e57b046d64678a2f52327c3ce6c1a"
provider_responses
0
endpoint_id"d21d316f-d540-4718-b36e-3beff85d0cf9"
id"748e57b046d64678a2f52327c3ce6c1a"
is_byokfalse
latency2057
model_permaslug"mistralai/mistral-medium-3.5-20260430"
provider_name"Mistral"
status200
total_cost0.0250965
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
totalTags12
adverbTagCount1
adverbTags
0"He stopped just [just]"
dialogueSentences69
tagDensity0.174
leniency0.348
rawRatio0.083
effectiveRatio0.029
80.47% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1792
totalAiIsmAdverbs7
found
0
adverb"slowly"
count2
1
adverb"carefully"
count1
2
adverb"sharply"
count2
3
adverb"very"
count2
highlights
0"slowly"
1"carefully"
2"sharply"
3"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)
44.20% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1792
totalAiIsms20
found
0
word"intensity"
count1
1
word"flicked"
count1
2
word"familiar"
count1
3
word"porcelain"
count1
4
word"pulse"
count1
5
word"loomed"
count1
6
word"sentinels"
count1
7
word"footsteps"
count1
8
word"could feel"
count1
9
word"intricate"
count1
10
word"chill"
count1
11
word"down her spine"
count1
12
word"weight"
count1
13
word"stomach"
count1
14
word"electric"
count1
15
word"warmth"
count1
16
word"eyebrow"
count1
17
word"unreadable"
count1
18
word"shattered"
count1
19
word"pounding"
count1
highlights
0"intensity"
1"flicked"
2"familiar"
3"porcelain"
4"pulse"
5"loomed"
6"sentinels"
7"footsteps"
8"could feel"
9"intricate"
10"chill"
11"down her spine"
12"weight"
13"stomach"
14"electric"
15"warmth"
16"eyebrow"
17"unreadable"
18"shattered"
19"pounding"
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
narrationSentences139
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences139
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences195
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen28
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans14
markdownWords15
totalWords1784
ratio0.008
matches
0"annoyed"
1"friendly"
2"trusted"
3"my"
4"dangerous"
5"that"
6"wrong people"
7"you"
8"safe"
9"Dracula"
10"tonight"
11"knew"
12"powerful"
13"warn"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions19
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions40
wordCount1387
uniqueNames8
maxNameDensity1.08
worstName"Lucien"
maxWindowNameDensity2.5
worstWindowName"Lucien"
discoveredNames
Moreau1
Marseille1
Lucien15
Aurora15
Eva2
Ptolemy4
Brick1
Lane1
persons
0"Moreau"
1"Lucien"
2"Aurora"
3"Eva"
4"Ptolemy"
places
0"Marseille"
1"Brick"
2"Lane"
globalScore0.959
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences97
glossingSentenceCount1
matches
0"something like gunpowder and old parchment—f"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.561
wordCount1784
matches
0"not *tonight*, but yes"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences195
matches
0"knew that tone"
1"chose that moment"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs74
mean24.11
std14.84
cv0.615
sampleLengths
058
114
26
333
425
569
619
721
835
910
1024
1138
1235
1326
1416
1555
1611
179
1815
1919
206
2117
2246
2317
246
2539
2631
2736
2838
299
3014
3116
3233
3343
3417
3511
369
3724
3825
394
402
4125
4227
4327
4442
4526
4616
4745
4813
494
97.69% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences139
matches
0"been painted"
1"was inscribed"
2"was smeared"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs264
matches
0"wasn’t expecting"
1"wasn’t saying"
69.60% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount8
semicolonCount0
flaggedSentences5
totalSentences195
ratio0.026
matches
0"That voice—she’d know it in a crowd of a thousand, in a storm, in the dark."
1"Lucien Moreau stood in the dim hallway, his platinum blond hair slicked back, the heterochromatic gaze—amber and black—fixed on her with unsettling intensity."
2"Then, slowly, he stepped inside, the scent of sandalwood and something darker—something like gunpowder and old parchment—filling the space as he passed her."
3"The drawing was intricate—a dagger with a hilt shaped like a serpent, its mouth open as if ready to strike."
4"She grabbed the nearest heavy book—a first edition of *Dracula* Eva would kill her for using as a weapon—and hurled it at the intruder."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1398
adjectiveStacks1
stackExamples
0"quiet, complicated, *safe* life."
adverbCount51
adverbRatio0.03648068669527897
lyAdverbCount6
lyAdverbRatio0.004291845493562232
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences195
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences195
mean9.15
std6.02
cv0.658
sampleLengths
013
114
210
321
414
56
63
716
81
913
1015
1110
1223
1325
143
152
1616
1712
187
1914
207
2120
227
232
242
254
263
277
2820
294
306
3123
329
334
3428
353
3621
375
3812
394
405
413
4223
4324
445
456
464
475
4810
495
55.04% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.3487179487179487
totalSentences195
uniqueOpeners68
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences132
matches
0"Just watched her, as if"
1"Then, slowly, he stepped inside,"
2"Instead, she turned away, putting"
3"More than tempting."
4"Instead, he reached out, his"
5"Then, slowly, he nodded."
ratio0.045
50.30% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount56
totalSentences132
matches
0"She wasn’t expecting anyone, least"
1"Her breath hitched."
2"He didn’t smile."
3"she said, the word slipping"
4"Her voice was steadier than"
5"His eyes flicked to the"
6"She stepped back, leaving the"
7"He didn’t move."
8"She set the mug down"
9"His gaze swept over the"
10"She crossed her arms, the"
11"He turned to face her,"
12"She laughed, the sound sharp."
13"His expression didn’t change."
14"She repeated the word like"
15"He shrugged, but the movement"
16"She wanted to slap him."
17"He followed her, his footsteps"
18"He stopped just behind her,"
19"She spun to face him,"
ratio0.424
31.97% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount113
totalSentences132
matches
0"The door rattled under the"
1"Aurora tightened her grip on"
2"She wasn’t expecting anyone, least"
3"Ptolemy, the tabby cat, arched"
4"The knock came again, this"
5"Her breath hitched."
6"That voice—she’d know it in"
7"The name settled in her"
8"The deadbolts clicked as she"
9"The door swung open before"
10"Lucien Moreau stood in the"
11"The tailored charcoal suit he"
12"He didn’t smile."
13"she said, the word slipping"
14"Her voice was steadier than"
15"His eyes flicked to the"
16"The jab was familiar, the"
17"She stepped back, leaving the"
18"He didn’t move."
19"She set the mug down"
ratio0.856
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences132
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences60
technicalSentenceCount2
matches
0"The tailored charcoal suit he wore looked as though it had been painted onto him, the ivory-handled cane resting against his shoulder like an afterthought."
1"The blade was inscribed with symbols that made her fingers tingle."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags12
uselessAdditionCount5
matches
0"she said, the word slipping out before she could stop it"
1"She set, the porcelain clinking against the paper"
2"He shrugged, but the movement was too precise, too controlled"
3"she said, the word clipped"
4"She studied, the serpent’s eyes seeming to follow her"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount1
fancyTags
0"She repeated (repeat)"
dialogueSentences69
tagDensity0.072
leniency0.145
rawRatio0.2
effectiveRatio0.029
83.5534%