Run: 2026-10-07-01M4AVEWCTSM3YB119TGX6FXEZ

Run Details

Duration:
3m 44s
Cost:
$0.025526
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 Heartstone seared against Rory’s sternum, a second pulse racing beneath her ribs. She stumbled forward, trainers sinking into loam that smelled of fermenting grapes and something sweeter, cloying. Behind her, the tear in the Veil snapped shut with a wet tearing sound. Nyx solidified from the shadow at her elbow, violet eyes flickering like candle flames in a draught. “Breathe,” they whispered. The words slithered across her skin, carried on a wind that tasted of copper and old pennies. “The air here is thick. Do not drink it too deeply.” Isolde stepped through last, silver hair floating as if underwater despite the stillness. She pressed the Fae blade into Rory’s palm, the moonsilver cold enough to burn. “Cut the air if you must,” the seer murmured. “But remember, what hungers here has tasted ten thousand souls before yours.” Rory looked up. The sky hung low, a bruised amber dome pressing down on endless rows of grapevines. The fruit gleamed, each cluster heavy and translucent, purple-black and glowing faintly from within. The vines twisted in tight spirals that hurt to follow, corkscrewing into the earth and back up again, carrying blossoms that opened and closed in slow, hypnotic rhythm. She counted seven rows before losing track, the pattern shifting when she blinked. “Dymas,” Nyx said, their voice barely disturbing the air. “The realm of Gluttony. Prince Belphegor’s larder.” “Pretty,” Rory said. Her boots scraped against soil that shifted beneath her weight, not quite solid, not quite liquid. The ground yielded like a stomach digesting a meal. “Deadly pretty.” They walked. The ground rose gently, paved with mosaic tiles depicting endless feasts. Rory’s trainers stuck to the surface with each step, peeling away with a sound like wet paper. The tiles felt warm, feverish, as if the stone itself processed whatever walked upon it. She studied the patterns, searching for an exit, a weakness. Her mind raced through the geometry, calculating angles, looking for the seam where Earth ended and Hel began. “These are Hel’s dinner plates,” Nyx said, crouching to press their palm against a tile. Their fingers passed through the surface, then solidified, testing the weight. “Solid enough to hold a thousand banquets, fragile enough to shatter under a single step of the right weight.” Isolde drifted ahead, leaving no footprints. “The host sets a table for the hungry,” she said, her pale lavender eyes reflecting the amber sky. “But the chairs remain empty until the guests arrive. Will you sit, little mortal, or will you stand?” “We’re not staying for dinner,” Rory said. The vines rustled though no wind blew. Rory reached out, her fingers hovering over a glowing grape. It pulsed, slow and steady, like a heartbeat. She pulled back, remembering the stories. In Dymas, the fruit fed on memory. One bite, and you forgot your own name. Beyond the vineyard, an orchard of impossible trees stretched toward the bruised sky. The branches bore fruit that chimed like bells when touched, though no wind blew. Apples of burnished gold, pears of tarnished silver, plums that dripped liquid shadow onto the warm earth. The scent hit Rory then, overwhelming, a symphony of roasted meats, exotic spices, and something darker, like burnt sugar and iron. Her mouth watered. Her stomach growled. She had not eaten since breakfast, hours ago or perhaps days ago. Time moved strangely here, minutes stretching into hours, the amber sky never changing its bruised hue. The Heartstone blazed against her chest, crimson light seeping through her cotton shirt. Rory clutched the pendant, the heat grounding her. “We need to move. Now.” “Too late,” Nyx whispered, their form rippling like disturbed water. “The Prince knows we are here.” They found the kitchens. A structure of bone and gilt, arched like a ribcage, ribs of white marble supporting a roof of stained glass that filtered the amber light into shades of blood and honey. Inside, long tables groaned under platters of food that moved, slithering slightly as if alive. Roast birds turned themselves on iron spits, basting in juices that steamed and hissed against the hot stone. The perfection of it stole Rory’s breath, the culinary artistry beyond anything human, each dish a masterpiece of colour and form, too beautiful to eat, too tempting to resist. Figures moved between the stoves. Helbound souls, Rory realised, their forms blurred and flickering, working with mechanical precision. They wore aprons of woven shadow, their faces smooth masks. They did not look up. They never looked up. Their hands moved in endless loops, chopping herbs that wept sap like tears, stirring pots that bubbled with liquids no earthly chef could name. One paused, head tilting, nostrils flaring. It caught Rory’s scent. Human. Fresh. The soul’s mask cracked, revealing something hungry beneath, and then the figure turned back to its spit, the moment passing. Rory studied the layout, her eyes scanning for the kitchen’s heart, the hearth that must power this impossible place. Her fingers found the scar on her left wrist, the crescent moon from childhood, grounding her. She calculated angles, looking for the seam in the Veil, the way back. But the geometry here defied Euclid. The walls curved inward yet expanded outward, a Möbius strip of bone and gilt. Nyx drifted closer to one of the flickering souls, their shadow merging with the blurred figure. For a moment, two shapes became one, and Rory saw a glimpse of a man in seventeenth-century robes, screaming silently, trapped. Then Nyx pulled back, violet eyes dimming. “They are the ingredients as much as the meal,” they whispered. “Consumed by the realm, forever stirring, forever tasting.” Isolde stood before a platter of fruit that rearranged itself into the shape of a crown. “The Prince always reclines at the head of the table,” she said. “But the table is round. There is no head. There is only hunger, and hunger is a circle without end.” “Magnificent,” Isolde breathed. Her voice echoed in the vast hall. “The art of consumption. To eat is to conquer. To be eaten is to be remembered. Which will you choose, Aurora Carter?” Rory backed toward the entrance. The Fae blade in her hand grew heavier, the moonsilver humming against her palm. “We came through the Veil for a reason. We’re leaving. Through the vines, back the way we came.” The vines shuddered. The blossoms that had opened and closed in hypnotic rhythm snapped shut, revealing thorns like broken teeth. The ground beneath them groaned, a sound like a stomach digesting. The mosaic tiles cracked. Not broke, opened. Eyes blinked up from the stone, amber and pupil-less, blinking in terrible unison. The vines screamed, a high, wet sound that tasted of rot and old wine. Above them, the bruised amber sky split. Not torn, but opened like a mouth, and rows of crystalline teeth descended, dripping with honey that smoked and hissed when it struck the warm earth.
created_at"2026-10-07T09:35:06.153Z" 10/7/2026, 9:35:06 AM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency743
moderation_latency(null)
generation_time224383
tokens_prompt5142
tokens_completion10700
native_tokens_prompt5032
native_tokens_completion10576
native_tokens_completion_images(null)
native_tokens_reasoning8901
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"
usage0.0255256
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1791365706-vG2xKBFSCkMSLi0R0Brc"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1791365706-phXlYvGR6NjjjVbVqRwz"
upstream_id"7d36c70d5856441db2d1e7f9ae6d4717"
provider_responses
0
endpoint_id"19b3b5d7-23f6-4b63-8109-64a6cc37d996"
id"7d36c70d5856441db2d1e7f9ae6d4717"
is_byokfalse
latency724
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
status200
total_cost0.0255256
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
totalTags11
adverbTagCount0
adverbTags(empty)
dialogueSentences23
tagDensity0.478
leniency0.957
rawRatio0
effectiveRatio0
91.29% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1148
totalAiIsmAdverbs2
found
0
adverb"gently"
count1
1
adverb"slightly"
count1
highlights
0"gently"
1"slightly"
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)
4.18% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1148
totalAiIsms22
found
0
word"pulse"
count1
1
word"racing"
count1
2
word"weight"
count3
3
word"stomach"
count3
4
word"mosaic"
count2
5
word"processed"
count1
6
word"raced"
count1
7
word"calculating"
count1
8
word"pulsed"
count1
9
word"symphony"
count1
10
word"structure"
count1
11
word"marble"
count1
12
word"mechanical"
count1
13
word"scanning"
count1
14
word"calculated"
count1
15
word"echoed"
count1
16
word"crystalline"
count1
highlights
0"pulse"
1"racing"
2"weight"
3"stomach"
4"mosaic"
5"processed"
6"raced"
7"calculating"
8"pulsed"
9"symphony"
10"structure"
11"marble"
12"mechanical"
13"scanning"
14"calculated"
15"echoed"
16"crystalline"
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
narrationSentences86
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences86
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences98
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen31
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1148
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions11
unquotedAttributions0
matches(empty)
71.14% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions36
wordCount951
uniqueNames11
maxNameDensity1.58
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Heartstone2
Rory15
Veil2
Fae2
Earth1
Hel1
Dymas1
Euclid1
Möbius1
Nyx6
Isolde4
persons
0"Heartstone"
1"Rory"
2"Hel"
3"Nyx"
4"Isolde"
places
0"Veil"
1"Dymas"
globalScore0.711
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences64
glossingSentenceCount1
matches
0"not quite solid, not quite liquid"
1"not quite liquid"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.871
wordCount1148
matches
0"Not torn, but opened like a mouth"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences98
matches(empty)
99.97% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs23
mean49.91
std24.95
cv0.5
sampleLengths
043
148
248
373
416
530
673
745
842
97
1046
1199
1226
1316
1497
1593
1668
1763
1848
1932
2037
2165
2233
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences86
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs187
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences98
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount954
adjectiveStacks0
stackExamples(empty)
adverbCount27
adverbRatio0.02830188679245283
lyAdverbCount7
lyAdverbRatio0.007337526205450734
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences98
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences98
mean11.71
std6.55
cv0.559
sampleLengths
013
116
214
317
43
517
611
713
814
99
1012
113
1215
1314
1428
1513
169
177
183
1916
209
212
222
2311
2417
2515
2610
2718
2815
2911
3019
316
3218
3318
347
357
3610
378
386
397
408
4113
4214
4317
4421
453
463
4712
4816
4913
57.14% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.3979591836734694
totalSentences98
uniqueOpeners39
43.29% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences77
matches
0"Then Nyx pulled back, violet"
ratio0.013
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount22
totalSentences77
matches
0"She stumbled forward, trainers sinking"
1"She pressed the Fae blade"
2"She counted seven rows before"
3"Her boots scraped against soil"
4"She studied the patterns, searching"
5"Her mind raced through the"
6"Their fingers passed through the"
7"she said, her pale lavender"
8"It pulsed, slow and steady,"
9"She pulled back, remembering the"
10"Her mouth watered."
11"Her stomach growled."
12"She had not eaten since"
13"They found the kitchens."
14"They wore aprons of woven"
15"They did not look up."
16"They never looked up."
17"Their hands moved in endless"
18"It caught Rory’s scent."
19"Her fingers found the scar"
ratio0.286
44.42% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount64
totalSentences77
matches
0"The Heartstone seared against Rory’s"
1"She stumbled forward, trainers sinking"
2"Nyx solidified from the shadow"
3"The words slithered across her"
4"Isolde stepped through last, silver"
5"She pressed the Fae blade"
6"the seer murmured"
7"Rory looked up."
8"The sky hung low, a"
9"The fruit gleamed, each cluster"
10"The vines twisted in tight"
11"She counted seven rows before"
12"Nyx said, their voice barely"
13"Her boots scraped against soil"
14"The ground yielded like a"
15"The ground rose gently, paved"
16"Rory’s trainers stuck to the"
17"The tiles felt warm, feverish,"
18"She studied the patterns, searching"
19"Her mind raced through the"
ratio0.831
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences77
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences47
technicalSentenceCount11
matches
0"She stumbled forward, trainers sinking into loam that smelled of fermenting grapes and something sweeter, cloying."
1"Isolde stepped through last, silver hair floating as if underwater despite the stillness."
2"The vines twisted in tight spirals that hurt to follow, corkscrewing into the earth and back up again, carrying blossoms that opened and closed in slow, hypnoti…"
3"Her boots scraped against soil that shifted beneath her weight, not quite solid, not quite liquid."
4"Apples of burnished gold, pears of tarnished silver, plums that dripped liquid shadow onto the warm earth."
5"A structure of bone and gilt, arched like a ribcage, ribs of white marble supporting a roof of stained glass that filtered the amber light into shades of blood …"
6"Inside, long tables groaned under platters of food that moved, slithering slightly as if alive."
7"Their hands moved in endless loops, chopping herbs that wept sap like tears, stirring pots that bubbled with liquids no earthly chef could name."
8"Rory studied the layout, her eyes scanning for the kitchen’s heart, the hearth that must power this impossible place."
9"The blossoms that had opened and closed in hypnotic rhythm snapped shut, revealing thorns like broken teeth."
10"Not torn, but opened like a mouth, and rows of crystalline teeth descended, dripping with honey that smoked and hissed when it struck the warm earth."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount3
matches
0"Nyx said, their voice barely disturbing the air"
1"Nyx said, crouching to press their palm against a tile"
2"Nyx whispered, their form rippling like disturbed water"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags11
fancyCount5
fancyTags
0"they whispered (whisper)"
1"the seer murmured (murmur)"
2"Nyx whispered (whisper)"
3"they whispered (whisper)"
4"Isolde breathed (breathe)"
dialogueSentences23
tagDensity0.478
leniency0.957
rawRatio0.455
effectiveRatio0.435
77.0476%