High stylistic quality. The text appears well-thought-out, expressive, and enriched with unique stylistic choices.
Very high lexical diversity. The text demonstrates a broad vocabulary.
A medium level of structural diversity. Various sentence types are used, but there is potential to enhance dynamics and expressiveness.
Perfectly crafted dialogue: natural, lively, and dynamic.
The text contains a harmonious combination of simple and complex sentences.
Perfect tonal balance, where emotional intensity is appropriately used without overwhelming the text.
Perfect rhythm, supporting a smooth and natural narrative flow.
Text demonstrates excellent readability and exemplary rhythm.
Very high genre conformity, fully meeting genre expectations.
High stylistic quality. The text appears well-thought-out, expressive, and enriched with unique stylistic choices.
8.64%
Cliche
The text contains only a few clichés.
She seldom or never looked through them for so small a thing as a boy; they were her state pair, the pride of her heart, and were built for not service—she could have seen through a pair of stove_lids just as well.
His aunt Polly stood surprised a moment, and then broke into a gentle laugh. pears to know just how long he can torment me before I get my dander up, and he knows if he can make out to put me off for a minute or make me laugh, it's all down again
Spare the rod and spile the child, as the Good Book says.
It's mighty hard to make him work Saturdays, when all the boys is having holiday, but he hates work more than he hates anything else, and I've got to do some of my duty by him, or I'll be the ruination of the child.”
But I bet you
Not because his troubles were one whit less heavy and bitter to him than a man's are to a man, but because a new and powerful interest bore them down and drove them out of his mind for the time—just as men's misfortunes are forgotten in the excitement of new enterprises.
If one moved, the other moved—but only sidewise, in a circle; they kept face to face and eye to eye all the time.
If one moved, the other moved—but only sidewise, in a circle; they kept face to face and eye to eye all the time.
Tom said: So they stood, each with a foot placed at an angle as a brace, and both shoving with might and main, and glowering at each other with hate.
The new boy stepped over promptly, and said: The new boy took two broad coppers out of his pocket and held them out with derision.
There was cheer in every face and a spring in every step.
He surveyed the fence, and all gladness left him and a deep melancholy settled down upon his spirit.
He was boat and captain and engine_bells combined, so he had to imagine himself standing on his own hurricane_deck giving the orders and executing them: The headway ran almost out, and he drew up slowly toward the sidewalk.
Tom went on whitewashing—paid no attention to the steamboat.
Tom swept his brush daintily back and forth—stepped back to note the effect—added a touch here and there—criticised the effect again—Ben watching every move and getting more and more interested, more and more absorbed.
Tom swept his brush daintily back and forth—stepped back to note the effect—added a touch here and there—criticised the effect again—Ben watching every move and getting more and more interested, more and more absorbed.
24.69%
Idioms
The text is almost completely free of idioms.
The old lady pulled her spectacles down and looked over them about the room; then she put them up and looked out under them.
The old lady pulled her spectacles down and looked over them about the room; then she put them up and looked out under them.
She did not finish, for by this time she was bending down and punching under the bed with the broom, and so she needed breath to punctuate the punches with.
She went to the open door and stood in it and looked out among the tomato vines and weeds that constituted the garden.
She went to the open door and stood in it and looked out among the tomato vines and weeds that constituted the garden.
There was a slight noise behind her and she turned just in time to seize a small boy by the slack of his roundabout and arrest his flight. a' thought of that closet.
His aunt Polly stood surprised a moment, and then broke into a gentle laugh. pears to know just how long he can torment me before I get my dander up, and he knows if he can make out to put me off for a minute or make me laugh, it's all down again
His aunt Polly stood surprised a moment, and then broke into a gentle laugh. pears to know just how long he can torment me before I get my dander up, and he knows if he can make out to put me off for a minute or make me laugh, it's all down again
I ain't doing my duty by that boy, and that's the Lord's truth, goodness knows.
I ain't doing my duty by that boy, and that's the Lord's truth, goodness knows.
I'm a laying up sin and suffering for us both, I know.
He got back home barely in season to help Jim, the small colored boy, saw next_day's wood and split the kindlings before supper—at least he was there in time to tell his adventures to Jim while Jim did three_fourths of the work.
He got back home barely in season to help Jim, the small colored boy, saw next_day's wood and split the kindlings before supper—at least he was there in time to tell his adventures to Jim while Jim did three_fourths of the work.
He got back home barely in season to help Jim, the small colored boy, saw next_day's wood and split the kindlings before supper—at least he was there in time to tell his adventures to Jim while Jim did three_fourths of the work.
The old lady reached out her hand and felt Tom's shirt, and said: And it flattered her to reflect that she had discovered that the shirt was dry without anybody knowing that that was what she had in her mind.
The old lady reached out her hand and felt Tom's shirt, and said: And it flattered her to reflect that she had discovered that the shirt was dry without anybody knowing that that was what she had in her mind.
But in spite of her, Tom knew where the wind lay, now.
I'd made sure you'd played hookey and been a_swimming.
Not because his troubles were one whit less heavy and bitter to him than a man's are to a man, but because a new and powerful interest bore them down and drove them out of his mind for the time—just as men's misfortunes are forgotten in the excitement of new enterprises.
Not because his troubles were one whit less heavy and bitter to him than a man's are to a man, but because a new and powerful interest bore them down and drove them out of his mind for the time—just as men's misfortunes are forgotten in the excitement of new enterprises.
It consisted in a peculiar bird_like turn, a sort of liquid warble, produced by touching the tongue to the roof of the mouth at short intervals in the midst of the music—the reader probably remembers how to do it, if he has ever been a boy.
It consisted in a peculiar bird_like turn, a sort of liquid warble, produced by touching the tongue to the roof of the mouth at short intervals in the midst of the music—the reader probably remembers how to do it, if he has ever been a boy.
Diligence and attention soon gave him the knack of it, and he strode down the street with his mouth full of harmony and his soul full of gratitude.
If one moved, the other moved—but only sidewise, in a circle; they kept face to face and eye to eye all the time.
any of your business, maybe.” low I'll make it my business.”
Presently they were shoulder to shoulder.
But neither could get an advantage.
Tom drew a line in the dust with his big toe, and said:
The new boy stepped over promptly, and said: The new boy took two broad coppers out of his pocket and held them out with derision.
The new boy stepped over promptly, and said: The new boy took two broad coppers out of his pocket and held them out with derision.
At last the stranger got out a smothered Nuff!” and Tom let him up and said:
At last the stranger got out a smothered Nuff!” and Tom let him up and said:
The new boy went off brushing the dust from his clothes, sobbing, snuffling, and occasionally looking back and shaking his head and threatening what he would do to Tom the To which Tom responded with jeers, and started off in high feather, and as soon as his back was turned the new boy snatched up a stone, threw it and hit him between the shoulders and then turned tail and ran like an antelope.
He then held a position at the gate for some time, daring the enemy to come outside, but the enemy only made faces at him through the window and declined.
At last the enemy's mother appeared, and called Tom a bad, vicious, vulgar child, and ordered him away.
There was cheer in every face and a spring in every step.
Tom appeared on the sidewalk with a bucket of whitewash and a long_handled brush.
Jim came skipping out at the gate with a tin pail, and singing Buffalo Gals.
And he remembered that although the pump was only a hundred and fifty yards off, Jim never got back with a bucket of water under an hour—and even then somebody generally had to go after him.
Jim shook his head and said: long an' ’tend to my own business—she ’lowed she'd ’tend to de whitewashin'.”
Jim shook his head and said: long an' ’tend to my own business—she ’lowed she'd ’tend to de whitewashin'.”
Jim shook his head and said: long an' ’tend to my own business—she ’lowed she'd ’tend to de whitewashin'.”
Deed she would.” em over the head with her thimble—and who cares for that, I'd like to know.
Deed she would.” em over the head with her thimble—and who cares for that, I'd like to know.
Jim was only human—this attraction was too much for him.
He put down his pail, took the white alley, and bent over the toe with absorbing interest while the bandage was being unwound.
He put down his pail, took the white alley, and bent over the toe with absorbing interest while the bandage was being unwound.
He put down his pail, took the white alley, and bent over the toe with absorbing interest while the bandage was being unwound.
In another moment he was flying down the street with his pail and a tingling rear, Tom was whitewashing with vigor, and Aunt Polly was retiring from the field with a slipper in her hand and triumph in her eye.
In another moment he was flying down the street with his pail and a tingling rear, Tom was whitewashing with vigor, and Aunt Polly was retiring from the field with a slipper in her hand and triumph in her eye.
In another moment he was flying down the street with his pail and a tingling rear, Tom was whitewashing with vigor, and Aunt Polly was retiring from the field with a slipper in her hand and triumph in her eye.
He began to think of the fun he had planned for this day, and his sorrows multiplied.
Soon the free boys would come tripping along on all sorts of delicious expeditions, and they would make a world of fun of him for having to work—the very thought of it burnt him like fire.
Soon the free boys would come tripping along on all sorts of delicious expeditions, and they would make a world of fun of him for having to work—the very thought of it burnt him like fire.
So he returned his straitened means to his pocket, and gave up the idea of trying to buy the boys.
Ben Rogers hove in sight presently—the very boy, of all boys, whose ridicule he had been dreading.
As he drew near, he slackened speed, took the middle of the street, leaned far over to starboard and rounded to ponderously and with laborious pomp and circumstance—for he was personating the Big Missouri, and considered himself to be drawing nine feet of water.
As he drew near, he slackened speed, took the middle of the street, leaned far over to starboard and rounded to ponderously and with laborious pomp and circumstance—for he was personating the Big Missouri, and considered himself to be drawing nine feet of water.
He was boat and captain and engine_bells combined, so he had to imagine himself standing on his own hurricane_deck giving the orders and executing them: The headway ran almost out, and he drew up slowly toward the sidewalk.
He was boat and captain and engine_bells combined, so he had to imagine himself standing on his own hurricane_deck giving the orders and executing them: The headway ran almost out, and he drew up slowly toward the sidewalk.
Tom swept his brush daintily back and forth—stepped back to note the effect—added a touch here and there—criticised the effect again—Ben watching every move and getting more and more interested, more and more absorbed.
Tom swept his brush daintily back and forth—stepped back to note the effect—added a touch here and there—criticised the effect again—Ben watching every move and getting more and more interested, more and more absorbed.
3.2%
Passive voice
Very low use of passive voice.
0.62%
Bureaucratic language
The text is almost completely free of bureaucratic expressions.
She went to the open door and stood in it and looked out among the tomato vines and weeds that constituted the garden.
0.62%
Pleonasms
The text is almost completely free of pleonasms.
So she lifted up her voice at an angle calculated for distance and shouted:
Purple prose is an excessively ornate and overly descriptive writing style. Such text is filled with adjectives, adverbs, metaphors, and complex constructions, making it elaborate and difficult to read. Instead of clarity, it focuses on unnecessary embellishments, often at the expense of content and narrative flow.
The ratio of adjectives to nouns in the text.
The proportion of adverbs modifying verbs.
The ratio of nouns to verbs.
The proportion of descriptive elements (adjectives, adverbs, and participles) among all meaningful words in the text.
The proportion of all adverbs in the text relative to verbs, regardless of their grammatical function.
The proportion of all adjectives in the text relative to nouns, regardless of their grammatical function.
8.6%
Descriptive Elements
The text contains minimal excessive descriptions.
0.07
Descriptive Frequency Index
Descriptive Frequency Index - a measure reflecting the ratio of adjectives, adverbs, and participles to all other parts of speech in the text.
0.96
Average Descriptive Element Per Sentence
Average number of descriptive elements per sentence - indicates the average number of adjectives, adverbs, and participles per sentence. A high value suggests a richly descriptive style, while a low value implies conciseness and restraint.
0.16%
Long Descriptions
Long descriptions. This criterion evaluates the presence of consecutive descriptive elements (adjectives, adverbs, and participles) in the text.
small colored
dark mysterious
new powerful
strong deep unalloyed
close-buttoned blue
bad vicious vulgar
insignificant whitewashed
mighty gay
dark hopeless
great magnificent
long melodious
describing stately
0.16%
Intensifiers
Intensifiers are words that enhance the meaning of adjectives, adverbs, or verbs (e.g., very, extremely, absolutely). A high number of intensifiers may indicate emotional intensity or excessive expressiveness in the text.
very: 6 times
The text is well-balanced, with appropriate use of capitalization and punctuation.
CHAPTER
TOM
Very high lexical diversity. The text demonstrates a broad vocabulary.
Hypergeometric Distribution Diversity - a lexical diversity metric assessing the probability of encountering unique words in the text. A high value indicates a rich vocabulary, while a low value suggests repetition and lexical monotony.
Measure of Textual Lexical Diversity - a metric evaluating the stability of lexical diversity throughout the text. A high value indicates a varied and extensive vocabulary, while a low value suggests frequent repetition and limited word choice.
Simpson’s Index – a lexical diversity metric measuring the probability that two randomly chosen words in the text will be identical. A high value indicates frequent word repetition, while a low value suggests diverse vocabulary.
Moving-Average Type-Token Ratio - a dynamic variant of TTR that measures lexical diversity using a fixed-size sliding window. It provides a more precise assessment of word variation across the text.
A medium level of structural diversity. Various sentence types are used, but there is potential to enhance dynamics and expressiveness.
Structural Diversity Index - a metric assessing the variety of syntactic constructions in the text. A high value indicates a rich and diverse sentence structure, whereas a low value suggests monotony.
Interpolations - measures the number of inserted words, phrases, or clauses that interrupt the main sentence structure. A high value indicates a complex, dense style, while a low value suggests simplicity and directness.
Clause Percentage - the proportion of all types of clauses (main and subordinate) relative to the total number of sentences. A high value indicates frequent use of complex and compound constructions.
Maximum Subordinate Clause Depth - a metric reflecting how deeply subordinate clauses are embedded within the main sentence. A high value indicates a complex syntactic structure, while a low value suggests simplicity and linearity.
Percentage of Object Clauses - the proportion of subordinate clauses functioning as objects in the main sentence.
Percentage of Purpose Clauses - the proportion of subordinate clauses indicating the purpose of an action (e.g., "He worked hard to succeed"). A high percentage is common in explanatory and argumentative texts.
Percentage of Relative Clauses - the proportion of clauses that specify or describe a noun in the main sentence. A high value indicates a detailed, explanatory writing style.
Percentage of Temporal Clauses - the proportion of clauses indicating the timing of an action (e.g., "When he arrived, the rain had already stopped").
Percentage of Adverbial Clauses - the proportion of subordinate clauses functioning as adverbials (expressing cause, condition, time, etc.).
Percentage of Complement Clauses - the share of clauses that complete the meaning of the main verb (e.g., "He knew that she would come").
Percentage of Concessive Clauses - the proportion of clauses expressing contrast to expectations (e.g., "Although he was tired, he kept working").
Percentage of Paratactic Clauses - the proportion of compound sentences connected without subordination (e.g., "He opened the window, and the wind rushed in").
Percentage of Conditional Clauses - the proportion of clauses expressing conditions (e.g., "If you arrive early, we will catch the train").
Percentage of Simple Sentences - the proportion of sentences containing only one independent clause (subject + predicate).
Percentage of Complex Sentences - the proportion of sentences containing a main clause and one or more subordinate clauses.
Percentage of Compound Sentences - the proportion of sentences containing two or more independent clauses connected by conjunctions ("and," "but," "however").
Percentage of Complex-Compound Sentences - the proportion of sentences combining both subordinate and coordinate structures.
Percentage of Asyndetic Compound Sentences - the proportion of compound sentences joined without conjunctions (e.g., "He left – I stayed").
Percentage of Modal Sentences - the proportion of sentences containing modal verbs (e.g., "can," "must," "should").
Percentage of Passive Voice Sentences - the proportion of sentences where the action is performed on the subject (e.g., "The book was read by the student").
Percentage of Sentences with Adverbial Phrases - the proportion of sentences containing adverbial constructions expressing cause, time, place, or purpose.
Percentage of Imperative Sentences - the proportion of sentences expressing commands, requests, or instructions (e.g., "Close the window!").
Percentage of Exclamatory Sentences - the proportion of sentences conveying emotion (e.g., "How beautiful it is!").
Percentage of Sentences with Participial Phrases - the proportion of sentences containing participial constructions (e.g., "Holding an umbrella, he walked down the street").
Percentage of Interrogative Sentences - the proportion of sentences expressing a question (e.g., "How do I get to the library?").
Percentage of Sentences with Adverbial Clauses - the proportion of sentences containing subordinate clauses that express circumstances such as time, place, reason, and purpose.
Perfectly crafted dialogue: natural, lively, and dynamic.
Overall
52%
Average level of sentence diversity in character speech.
The average length of dialogue sentences, measured in words.
The average structural variability of dialogue sentences.
Diversity coefficient measuring the variety in sentence length and structure within dialogues.
Percentage of complex sentences in dialogue lines.
Moderate variability in line length.
Rate of dialogue length alternation, indicating how much the length of dialogue lines varies from one to another.
Average difference in length between consecutive dialogue lines. A large difference indicates contrast in dialogue, while a small difference suggests uniformity.
Standard deviation of dialogue line lengths, showing how much individual lines deviate from the average. A high value indicates significant variations, while a low value suggests monotony.
0%
Excessive Adverbs in Authorial Insertions
Authorial insertions are almost entirely free of adverbs.
The text contains a harmonious combination of simple and complex sentences.
The average length of sentences in the text, measured in words.
The average percentage of complex sentences in the text. A high value indicates a prevalence of complex and compound structures.
results.explanations.subclauses_precentage
Maximum Subordinate Clause Depth - a metric reflecting how deeply subordinate clauses are embedded within the main sentence. A high value indicates a complex syntactic structure, while a low value suggests simplicity and linearity.
results.explanations.average_sublclauses_in_sentence
Total number of simple sentences in the text.
Total number of complex sentences, including compound and complex constructions.
Number of overloaded sentences where excessive subordinate constructions make comprehension difficult.
Perfect tonal balance, where emotional intensity is appropriately used without overwhelming the text.
The text predominantly features dark tones, aligning with the genre requirements.
Emotions are present but expressed in a reserved manner.
Emotional richness is present but does not overwhelm the text.
0.35%
Intensive but balanced use of exclamation marks.
The text is entirely free of redundant elements, with each sentence carrying meaningful content.
2.8%
boy, old, heart, said, time, went, look, know, let, hand
1.64%
well, so, then, next, maybe
0%
Perfect rhythm, supporting a smooth and natural narrative flow.
Integral rhythm score of the text, based on sentence length and alternation. A high value indicates a smooth and balanced rhythm, while a low value suggests abrupt transitions.
Rhythm diversity index, showing how much sentence lengths vary. A high value indicates dynamism, while a low value suggests monotony.
Sentence length alternation coefficient, measuring how rhythmically short and long sentences alternate.
Density of punctuation marks in the text.
!
0.35%
?
0.15%
:
0.13%
;
0.06%
,
1.24%
-
0.36%
–
0%
—
0.28%
36
Sentence Alternation
Moderate alternation in sentence length.
Median sentence length, representing the central value among all sentence lengths in the text.
Mean sentence length in the text.
Standard deviation of sentence lengths, indicating how much sentence lengths deviate from the average. A high value suggests a varied rhythm, while a low value indicates monotony.
Average difference in length between consecutive sentences. A high value indicates sharp variations, creating a dynamic rhythm.
Proportion of short sentences (up to 10 words).
Proportion of medium-length sentences (10–20 words).
Proportion of long sentences (more than 20 words).
26
Paragraph Alternation
Variation in paragraph length supports text rhythm.
results.explanations.rhythm_paragraph_avgerage_length
Standard deviation of paragraph length, showing how much paragraph size varies.
Proportion of short paragraphs (up to 3 sentences).
Proportion of long paragraphs (10 sentences or more).
Average difference in length between consecutive paragraphs, reflecting the smoothness or abruptness of rhythm transitions.
Text demonstrates excellent readability and exemplary rhythm.
97
Flesch index
Flesch Index - a readability metric based on sentence length and the number of syllables per word.
An extremely simple text, designed for beginner-level readers (e.g., children’s books, basic instructions).
Very high genre conformity, fully meeting genre expectations.