Run: 2026-10-07-01M4AV6K3A62W1DDC6P9RY9634

Run Details

Duration:
19.5s
Cost:
$0.022988
Provider:
Mistral

Model input

System
You are an expert and award-winning novel writer in the dark Fantasy 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="4418" name="Nyx" aliases="Nyx, the Shadow, Nightwhisper" pronouns="they/them" species="Shade" storyRole="Wild Card"> <eyeColor>faintly glowing violet</eyeColor> <height>approximately 6'2" in solid form</height> <age>ageless</age> <form>humanoid silhouette of living shadow, can shift between solid and incorporeal</form> <voice>sounds like a whisper carried on the wind</voice> <description>A being of living shadow, existing between the mortal plane and the spaces between realms.</description> <backstory>Nyx was once a human sorcerer named Aldric who became trapped between realms during a failed summoning ritual in 1643. They now exist as a Shade, bound to the mortal plane but able to slip between shadows.</backstory> </character> <character id="4424" name="Isolde Varga" aliases="Isolde, the Seer" pronouns="she/her" species="Half-Fae" storyRole="Oracle"> <eyeColor>pale lavender</eyeColor> <hair>silver, reaching her waist</hair> <height>5'5"</height> <age>300 years old</age> <appearance>ethereal, ageless</appearance> <speech>speaks in riddles</speech> <footprints>leaves no footprints when she walks</footprints> <compulsion>cannot lie (Fae compulsion) but can mislead</compulsion> <description>A Half-Fae seer exiled from the Fae Courts for sharing visions with mortals.</description> <backstory>She now lives in a hidden grove in Richmond Park, offering cryptic prophecies to those who seek her out.</backstory> </character> <location id="853" name="Dymas (Gluttony)" aliases="Dymas, gluttony, Dymasian" realm="Hel" sin="Gluttony"> <ruler>Prince Belphegor</ruler> <skyColor>warm amber</skyColor> <description>A place of excess and indulgence. Sprawling vineyards, orchards, and gardens provide exotic ingredients for master chefs — often helbound souls contracted from Earth. Grand feasts and culinary competitions are common.</description> </location> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> <item id="2006" name="Fae-Forged Blade" aliases="the Fae blade, Isolde's gift" type="Weapon" origin="The Fae Courts"> <material>moonsilver</material> <shape>slender, leaf-shaped dagger</shape> <temperature>always cold to the touch</temperature> <glow>faintly luminescent in moonlight</glow> <power>can cut through magical wards; particularly effective against demons</power> <givenTo>given to Aurora by Isolde as a gift</givenTo> <description>A weapon of the Fae Courts, rare and highly coveted.</description> </item> <lore id="7001" name="The Veil" aliases="the Veil, the Barrier, the Boundary" category="Cosmology"> <solsticeEffect>weakens during the winter solstice, strengthens during the summer solstice</solsticeEffect> <appearance>faint shimmering distortion visible only to those with supernatural sight</appearance> <monitoring>rift points (tears in the Veil) are monitored by the Wardens</monitoring> <description>The Veil is the metaphysical barrier separating Earth from Hel and the Fae Realms.</description> </lore> </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 fantasy genre. A small group enters an ancient, otherworldly place for the first time. The environment is alien and wondrous. Describe their exploration — what they see, hear, and feel as they move deeper. Include moments of discovery, unease, and wonder. Let the world-building emerge through the characters' experience rather than exposition. Use the codex entries above as your world reference for characters, setting, and lore. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The shadow swallowed Rory whole. One moment she stood in the dim glow of Isolde’s grove, the next the world twisted like a cloth wrung dry. The air smelled of burnt sugar and something older, something that made her teeth ache. She stumbled, her boots sinking into warm, spongy earth. The pendant at her throat flared, its crimson glow pulsing against her collarbone like a second heartbeat. “Bloody hell,” she muttered, steadying herself against a tree—or what she thought was a tree. The bark was smooth as polished mahogany but the colour of dried blood, and when she touched it, the surface rippled like water. Nyx materialised beside her, their form shifting from smoke to solid. “Welcome to Dymas.” Rory shot them a look. “You could’ve warned me it’d feel like being swallowed by a bloody whale.” Isolde stepped through the rift behind them, her silver hair catching the amber light like a strand of moonlight. “Warnings are for those who hesitate.” She inhaled deeply, her lavender eyes half-lidded. “Ah. The scent of excess.” The sky was a vast, warm amber, like the inside of a honeycomb backlit by the sun. No clouds, no birds—just that endless, golden glow. The air hummed, thick with the scent of roasting meats, caramelised fruits, and something darker beneath it all, like the metallic tang of old coins. A path of black stone wound ahead, slick underfoot as if oiled. On either side, vines heavy with fruits Rory had never seen before twisted around trellises shaped like screaming faces. The fruits themselves were the size of her fist, their skins shimmering in iridescent hues. One split open as she watched, revealing a pulp that writhed like a nest of maggots before dissolving into a fine, sweet mist. “Don’t eat anything,” Nyx said, their voice a whisper that seemed to come from inside her skull. “Not unless you fancy being digested from the inside out.” Rory swallowed. “Noted.” They moved deeper. The path widened into a grand avenue lined with tables groaning under feasts that never seemed to diminish. Platters of steaming meats, towers of pastries, goblets brimming with liquids that shifted colour like oil on water. No one sat at the tables. No one served the food. Yet the scent was intoxicating, pulling at something primal in her gut. Isolde plucked a grape from a passing vine. It burst between her fingers, its juice black as ink. “The first sin is always the most… *inviting*.” Rory’s stomach growled. She clenched her fists. “Right. So, what, we just walk through this like it’s a bloody Sunday market?” Nyx chuckled, the sound like dry leaves skittering across stone. “Oh, it’s far worse than a market.” A sound cut through the stillness—a wet, slapping noise, like a butcher’s knife hitting a chopping block. Rory turned. At the end of the avenue, a figure stood behind a table laden with a single dish: a massive, glistening haunch of something that might have once been a boar. The figure was tall, draped in robes the colour of clotted cream, their face obscured by a mask of gilded bone. “Prince Belphegor’s personal chef,” Isolde murmured. “Or one of them.” The chef looked up. The mask’s empty eye sockets fixed on Rory. Then, with deliberate slowness, they lifted a cleaver the size of her torso and brought it down. The sound echoed, and the meat on the block *twitched*. Rory’s breath hitched. “That’s… not meat.” Nyx’s form flickered. “Not anymore.” The chef’s head tilted. A low, guttural laugh rumbled from behind the mask. Then, without warning, they hurled the cleaver. It spun end over end, its blade catching the light like a sliver of the sun. Rory barely had time to duck. The cleaver embedded itself in the tree beside her, quivering. The bark hissed where the blade touched, blackening like flesh under a brand. “Run,” Nyx said. They ran. The avenue twisted, the feasting tables blurring past as Rory’s lungs burned. The air grew thicker, sweeter, cloying like syrup in her throat. The path beneath her feet sloped downward, the black stone giving way to something softer, something that yielded like flesh under her boots. Ahead, the landscape opened into a vast, sunken garden. Rows of vegetables stretched into the distance, their leaves shimmering in hues of violet and gold. But the plants weren’t rooted in soil. They grew from the bodies of prone figures, their limbs splayed out like the branches of the trees they’d become. Faces frozen in ecstasy or agony, it was hard to tell which. The vegetables pulsed, ripe and glistening, as if the bodies beneath them still lived. Rory skidded to a halt. “What in the name of all that’s holy—” Isolde didn’t break stride. “The gardens of Dymas. The sin of gluttony is not just in the eating, but in the *becoming*.” A groan echoed from the nearest figure—a man, his mouth stretched wide in a silent scream, a gourd the size of a melon splitting open from his chest. The gourd’s flesh was the same sickly sweet shade as the man’s skin. Nyx’s hand—if it could be called a hand—closed around Rory’s wrist. “Keep moving.” She tore her gaze away, her stomach heaving. The path led them deeper into the garden, the bodies beneath the plants growing more numerous, their expressions more twisted. Some were fused together, their limbs tangled, their mouths sewn shut with vines. Others were half-consumed, their ribs splayed open like the pages of a book, the roots of the plants burrowing deep into their cavities. The air here was heavier, the scent of decay beneath the sweetness. Rory’s pendant burned against her skin. She risked a glance at it. The crimson glow had intensified, casting a ruby light over her fingers. “Is it always like this?” she asked, her voice barely above a whisper. Isolde’s lips curled. “Dymas is what you make of it. For some, it’s a paradise. For others…” She gestured to the writhing garden. “A feast of consequences.” A sound cut through the grotesque symphony of the garden—a high, keening wail. Rory spun. One of the figures, a woman with hollow cheeks and eyes like polished obsidian, had torn free of the vines. She staggered toward them, her arms outstretched, her fingers ending in blackened, root-like talons. “Please,” the woman rasped. “I’m so *hungry*.” Nyx’s form solidified, their violet eyes narrowing. “Don’t let her touch you.” Rory didn’t need to be told twice. She backed away, her hand going to the Fae-forged blade at her belt. The cold metal was a comfort against her palm. The woman lunged. Isolde moved faster than Rory could track, her silver hair a blur as she stepped between them. The woman’s talons raked the air where Isolde’s throat had been a heartbeat before. Isolde’s hand shot out, pressing against the woman’s chest. A pulse of light, pale as moonlight, flared from her palm. The woman screamed. Her body convulsed, her skin splitting as vines erupted from her mouth, her nose, her eyes. In seconds, she was still, her form collapsing back into the earth, the plants drinking her in like water into sand. Isolde turned, her expression unreadable. “She was already lost.” Rory’s grip on the blade didn’t loosen. “And us?” Nyx’s whisper curled around her. “That depends. Do you still feel hungry?” Rory’s stomach twisted. The scent of the garden, the sight of the feasts, the groaning of the half-digested—it all pressed in on her. But beneath it, something else gnawed. A hollow, aching need. Her mouth was dry. Her throat burned. She swallowed. “No.” Isolde’s eyes gleamed. “Liar.” The ground trembled. The vines around them shivered, their leaves rustling like the whisper of a thousand voices. The amber sky darkened, the warm glow bleeding into a deep, bruised purple. The feasting tables in the distance began to shake, the platters sliding, the goblets toppling. The meat on the spits *moved*, twisting, writhing, as if the very air had become a living thing. Nyx’s form rippled. “We’ve overstayed our welcome.” A shadow fell over them. Rory looked up. The chef from the avenue stood at the top of the path, the gilded bone mask now cracked down the middle, revealing a mouth stretched too wide, too many teeth glinting in the dimming light. In their hands, the cleaver gleamed, its edge dripping with something dark and thick. Behind them, the garden groaned. The bodies beneath the plants twitched. The vines coiled, tightening, as if the entire realm was drawing a breath. The chef raised the cleaver. Isolde’s voice cut through the tension, sharp as a blade. “Now would be a good time to run.”
created_at"2026-10-07T09:30:34.502Z" 10/7/2026, 9:30:34 AM
model"mistralai/mistral-medium-3.5-20260430"
app_id182717
external_user(null)
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cancelledfalse
latency1146
moderation_latency(null)
generation_time19483
tokens_prompt5142
tokens_completion2245
native_tokens_prompt5055
native_tokens_completion2054
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached0
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num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
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origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
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usage0.0229875
router(null)
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api_type"completions"
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provider_responses
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id"01cc19dc354f40fcbb67ad2ff3887bca"
is_byokfalse
latency1146
model_permaslug"mistralai/mistral-medium-3.5-20260430"
provider_name"Mistral"
status200
total_cost0.0229875
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
totalTags8
adverbTagCount1
adverbTags
0"She inhaled deeply [deeply]"
dialogueSentences32
tagDensity0.25
leniency0.5
rawRatio0.125
effectiveRatio0.063
93.11% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1452
totalAiIsmAdverbs2
found
0
adverb"barely above a whisper"
count1
1
adverb"very"
count1
highlights
0"barely above a whisper"
1"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)
34.57% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1452
totalAiIsms19
found
0
word"whisper"
count4
1
word"stomach"
count3
2
word"glistening"
count2
3
word"echoed"
count2
4
word"flickered"
count1
5
word"pulsed"
count1
6
word"symphony"
count1
7
word"pulse"
count1
8
word"unreadable"
count1
9
word"trembled"
count1
10
word"glinting"
count1
11
word"tension"
count1
highlights
0"whisper"
1"stomach"
2"glistening"
3"echoed"
4"flickered"
5"pulsed"
6"symphony"
7"pulse"
8"unreadable"
9"trembled"
10"glinting"
11"tension"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"clenched jaw/fists"
count1
highlights
0"clenched her fists"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences119
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences119
filterMatches(empty)
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)
analyzedSentences143
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen35
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans5
markdownWords5
totalWords1445
ratio0.003
matches
0"inviting"
1"twitched"
2"becoming"
3"hungry"
4"moved"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
75.31% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions44
wordCount1272
uniqueNames5
maxNameDensity1.49
worstName"Rory"
maxWindowNameDensity2.5
worstWindowName"Rory"
discoveredNames
Rory19
Isolde12
Nyx9
Fae-forged1
One3
persons
0"Rory"
1"Isolde"
2"Nyx"
3"One"
places
0"Fae-forged"
globalScore0.753
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences83
glossingSentenceCount1
matches
0"whisper that seemed to come from inside her skull"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.692
wordCount1445
matches
0"not just in the eating, but in the *becoming*"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences143
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs51
mean28.33
std21.44
cv0.757
sampleLengths
05
162
238
314
418
537
650
769
827
93
1062
1126
1221
1317
1470
1510
1639
176
185
1936
2029
213
222
2346
2478
2513
2622
2741
2813
2964
3036
3113
3227
3349
347
3512
3629
3754
3840
399
409
4112
4240
433
444
4564
467
4757
4824
495
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences119
matches
0"were fused"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs210
matches
0"was drawing"
22.98% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount7
semicolonCount0
flaggedSentences6
totalSentences143
ratio0.042
matches
0"“Bloody hell,” she muttered, steadying herself against a tree—or what she thought was a tree."
1"No clouds, no birds—just that endless, golden glow."
2"A sound cut through the stillness—a wet, slapping noise, like a butcher’s knife hitting a chopping block."
3"A groan echoed from the nearest figure—a man, his mouth stretched wide in a silent scream, a gourd the size of a melon splitting open from his chest."
4"Nyx’s hand—if it could be called a hand—closed around Rory’s wrist."
5"A sound cut through the grotesque symphony of the garden—a high, keening wail."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1284
adjectiveStacks1
stackExamples
0"same sickly sweet shade"
adverbCount32
adverbRatio0.024922118380062305
lyAdverbCount4
lyAdverbRatio0.003115264797507788
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences143
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences143
mean10.1
std6.86
cv0.678
sampleLengths
05
121
215
39
417
515
623
711
83
95
1013
1119
1213
135
1417
158
1625
1712
1819
1915
2023
2117
2210
232
241
253
2618
2718
286
295
3012
318
3210
338
343
354
3614
3710
387
3917
402
4130
4221
436
444
454
468
4717
4810
493
46.15% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.3356643356643357
totalSentences143
uniqueOpeners48
59.52% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences112
matches
0"Then, with deliberate slowness, they"
1"Then, without warning, they hurled"
ratio0.018
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount17
totalSentences112
matches
0"She stumbled, her boots sinking"
1"she muttered, steadying herself against"
2"She inhaled deeply, her lavender"
3"They moved deeper."
4"It burst between her fingers,"
5"She clenched her fists."
6"It spun end over end,"
7"They grew from the bodies"
8"She tore her gaze away,"
9"She risked a glance at"
10"she asked, her voice barely"
11"She gestured to the writhing"
12"She staggered toward them, her"
13"She backed away, her hand"
14"Her body convulsed, her skin"
15"Her mouth was dry."
16"Her throat burned."
ratio0.152
35.89% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount95
totalSentences112
matches
0"The shadow swallowed Rory whole."
1"The air smelled of burnt"
2"She stumbled, her boots sinking"
3"The pendant at her throat"
4"she muttered, steadying herself against"
5"The bark was smooth as"
6"Nyx materialised beside her, their"
7"Rory shot them a look."
8"Isolde stepped through the rift"
9"She inhaled deeply, her lavender"
10"The sky was a vast,"
11"The air hummed, thick with"
12"A path of black stone"
13"The fruits themselves were the"
14"Nyx said, their voice a"
15"They moved deeper."
16"The path widened into a"
17"Platters of steaming meats, towers"
18"Isolde plucked a grape from"
19"It burst between her fingers,"
ratio0.848
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences112
matches(empty)
ratio0
44.33% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences58
technicalSentenceCount8
matches
0"The air smelled of burnt sugar and something older, something that made her teeth ache."
1"A path of black stone wound ahead, slick underfoot as if oiled."
2"Platters of steaming meats, towers of pastries, goblets brimming with liquids that shifted colour like oil on water."
3"At the end of the avenue, a figure stood behind a table laden with a single dish: a massive, glistening haunch of something that might have once been a boar."
4"The path beneath her feet sloped downward, the black stone giving way to something softer, something that yielded like flesh under her boots."
5"The vegetables pulsed, ripe and glistening, as if the bodies beneath them still lived."
6"In seconds, she was still, her form collapsing back into the earth, the plants drinking her in like water into sand."
7"The vines coiled, tightening, as if the entire realm was drawing a breath."
62.50% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags8
uselessAdditionCount1
matches
0"she asked, her voice barely above a whisper"
87.50% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount2
fancyTags
0"she muttered (mutter)"
1"Isolde murmured (murmur)"
dialogueSentences32
tagDensity0.156
leniency0.313
rawRatio0.4
effectiveRatio0.125
81.8628%