Good stylistic quality. The text is generally expressive, though there is potential for further refinement.
High level of lexical diversity.
Good level of structural diversity. Different sentence types are used, making the text dynamic.
Perfectly crafted dialogue: natural, lively, and dynamic.
The text contains a harmonious combination of simple and complex sentences.
The text’s tonality is well-balanced, combining expressiveness with neutral elements.
Perfect rhythm, supporting a smooth and natural narrative flow.
Text demonstrates excellent readability and exemplary rhythm.
The text follows genre norms, incorporating key stylistic and thematic elements.
Good stylistic quality. The text is generally expressive, though there is potential for further refinement.
11.27%
Cliche
Clichés appear rarely.
There were great stables, where a dozen grooms and boys held forth, rows of vine_clad servants' cottages, an endless and orderly array of outhouses, long grape arbors, green pastures, orchards, and berry patches.
On the other hand, there were the fox terriers, a score of them at least, who yelped fearful promises at Toots and Ysabel looking out of the windows at them and protected by a legion of housemaids armed with brooms and mops.
He plunged into the swimming tank or went hunting with the Judge's sons; he escorted Mollie and Alice, the Judge's daughters, on long twilight or early morning rambles; on wintry nights he lay at the Judge's feet before the roaring library fire; he carried the Judge's grandsons on his back, or rolled them in the grass, and guarded their footsteps through wild adventures down to the fountain in the stable yard, and even beyond, where the paddocks were, and the berry patches.
For two days and nights this express car was dragged along at the tail of shrieking locomotives; and for two days and nights Buck neither ate nor drank.
For two days and nights this express car was dragged along at the tail of shrieking locomotives; and for two days and nights Buck neither ate nor drank.
That had given them an unfair advantage; but now that it was off, he would show them.
For two days and nights he neither ate nor drank, and during those two days and nights of torment, he accumulated a fund of wrath that boded ill for whoever first fell foul of him.
For two days and nights he neither ate nor drank, and during those two days and nights of torment, he accumulated a fund of wrath that boded ill for whoever first fell foul of him.
Buck rushed at the splintering wood, sinking his teeth into it, surging and wrestling with it.
Wherever the hatchet fell on the outside, he was there on the inside, snarling and growling, as furiously anxious to get out as the man in the red sweater was calmly intent on getting him out.
Wherever the hatchet fell on the outside, he was there on the inside, snarling and growling, as furiously anxious to get out as the man in the red sweater was calmly intent on getting him out.
Straight at the man he launched his one hundred and forty pounds of fury, surcharged with the pent passion of two days and nights.
Then the man advanced and deliberately dealt him a frightful blow on the nose.
one of the men on the wall cried enthusiastically. was the reply of the driver, as he climbed on the wagon and started the horses.
He lay where he had fallen, and from there he watched the man in the red sweater.
He had learned the lesson, and in all his after life he never forgot it.
The facts of life took on a fiercer aspect; and while he faced that aspect uncowed, he faced it with all the latent cunning of his nature aroused.
As the days went by, other dogs came, in crates and at the ends of ropes, some docilely, and some raging and roaring as he had come; and, one and all, he watched them pass under the dominion of the man in the red sweater.
Now and again men came, strangers, who talked excitedly, wheedlingly, and in all kinds of fashions to the man in the red sweater.
he cried, when his eyes lit upon Buck. was the prompt reply of the man in the red sweater.
That was the last he saw of the man in the red sweater, and as Curly and he looked at receding Seattle from the deck of the Narwhal, it was the last he saw of the warm Southland.
Day and night the ship throbbed to the tireless pulse of the propeller, and though one day was very like another, it was apparent to Buck that the weather was steadily growing colder.
Francois leashed them and brought them on deck.
All was confusion and action, and every moment life and limb were in peril.
So sudden was it, and so unexpected, that Buck was taken aback.
He saw Spitz run out his scarlet tongue in a way he had of laughing; and he saw Francois, swinging an axe, spring into the mess of dogs.
26.96%
Idioms
The text is almost completely free of idioms.
Because men, groping in the Arctic darkness, had found a yellow metal, and because steamship and transportation companies were booming the find, thousands of men were rushing into the Northland.
Then there was the pumping plant for the artesian well, and the big cement tank where Judge Miller's boys took their morning plunge and kept cool in the hot afternoon.
Then there was the pumping plant for the artesian well, and the big cement tank where Judge Miller's boys took their morning plunge and kept cool in the hot afternoon.
They came and went, resided in the populous kennels, or lived obscurely in the recesses of the house after the fashion of Toots, the Japanese pug, or Ysabel, the Mexican hairless,—strange creatures that rarely put nose out of doors or set foot to ground.
They came and went, resided in the populous kennels, or lived obscurely in the recesses of the house after the fashion of Toots, the Japanese pug, or Ysabel, the Mexican hairless,—strange creatures that rarely put nose out of doors or set foot to ground.
They came and went, resided in the populous kennels, or lived obscurely in the recesses of the house after the fashion of Toots, the Japanese pug, or Ysabel, the Mexican hairless,—strange creatures that rarely put nose out of doors or set foot to ground.
On the other hand, there were the fox terriers, a score of them at least, who yelped fearful promises at Toots and Ysabel looking out of the windows at them and protected by a legion of housemaids armed with brooms and mops.
On the other hand, there were the fox terriers, a score of them at least, who yelped fearful promises at Toots and Ysabel looking out of the windows at them and protected by a legion of housemaids armed with brooms and mops.
On the other hand, there were the fox terriers, a score of them at least, who yelped fearful promises at Toots and Ysabel looking out of the windows at them and protected by a legion of housemaids armed with brooms and mops.
He plunged into the swimming tank or went hunting with the Judge's sons; he escorted Mollie and Alice, the Judge's daughters, on long twilight or early morning rambles; on wintry nights he lay at the Judge's feet before the roaring library fire; he carried the Judge's grandsons on his back, or rolled them in the grass, and guarded their footsteps through wild adventures down to the fountain in the stable yard, and even beyond, where the paddocks were, and the berry patches.
He plunged into the swimming tank or went hunting with the Judge's sons; he escorted Mollie and Alice, the Judge's daughters, on long twilight or early morning rambles; on wintry nights he lay at the Judge's feet before the roaring library fire; he carried the Judge's grandsons on his back, or rolled them in the grass, and guarded their footsteps through wild adventures down to the fountain in the stable yard, and even beyond, where the paddocks were, and the berry patches.
His father, Elmo, a huge St. Bernard, had been the Judge's inseparable companion, and Buck bid fair to follow in the way of his father.
He was not so large,—he weighed only one hundred and forty pounds,—for his mother, Shep, had been a Scotch shepherd dog. Nevertheless, one hundred and forty pounds, to which was added the dignity that comes of good living and universal respect, enabled him to carry himself in right royal fashion.
Hunting and kindred outdoor delights had kept down the fat and hardened his muscles; and to him, as to the cold_tubbing races, the love of water had been a tonic and a health preserver.
And with the exception of a solitary man, no one saw them arrive at the little flag station known as College Park.
To be sure, it was an unwonted performance: but he had learned to trust in men he knew, and to give them credit for a wisdom that outreached his own.
But when the ends of the rope were placed in the stranger's hands, he growled menacingly.
He had merely intimated his displeasure, in his pride believing that to intimate was to command.
But to his surprise the rope tightened around his neck, shutting off his breath.
But to his surprise the rope tightened around his neck, shutting off his breath.
In quick rage he sprang at the man, who met him halfway, grappled him close by the throat, and with a deft twist threw him over on his back.
He opened his eyes, and into them came the unbridled anger of a kidnapped king.
His jaws closed on the hand, nor did they relax till his senses were choked out of him once more.
His jaws closed on the hand, nor did they relax till his senses were choked out of him once more.
But he was thrown down and choked repeatedly, till they succeeded in filing the heavy brass collar from off his neck.
But he was thrown down and choked repeatedly, till they succeeded in filing the heavy brass collar from off his neck.
There he lay for the remainder of the weary night, nursing his wrath and wounded pride.
Why were they keeping him pent up in this narrow crate?
Several times during the night he sprang to his feet when the shed door rattled open, expecting to see the Judge, or the boys at least.
But each time it was the bulging face of the saloon_keeper that peered in at him by the sickly light of a tallow candle.
But the saloon_keeper let him alone, and in the morning four men entered and picked up the crate.
Whereupon he lay down sullenly and allowed the crate to be lifted into a wagon.
Clerks in the express office took charge of him; he was carted about in another wagon; a truck carried him, with an assortment of boxes and parcels, upon a ferry steamer; he was trucked off the steamer into a great railway depot, and finally he was deposited in an express car.
When he flung himself against the bars, quivering and frothing, they laughed at him and taunted him.
That had given them an unfair advantage; but now that it was off, he would show them.
At the same time he dropped the hatchet and shifted the club to his right hand.
And Buck was truly a red_eyed devil, as he drew himself together for the spring, hair bristling, mouth foaming, a mad glitter in his blood_shot eyes.
In mid air, just as his jaws were about to close on the man, he received a shock that checked his body and brought his teeth together with an agonizing clip.
With a snarl that was part bark and more scream he was again on his feet and launched into the air.
With a snarl that was part bark and more scream he was again on his feet and launched into the air.
This time he was aware that it was the club, but his madness knew no caution.
A dozen times he charged, and as often the club broke the charge and smashed him down.
He staggered limply about, the blood flowing from nose and mouth and ears, his beautiful coat sprayed and flecked with bloody slaver.
But the man, shifting the club from right to left, coolly caught him by the under jaw, at the same time wrenching downward and backward.
The man struck the shrewd blow he had purposely withheld for so long, and Buck crumpled up and went down, knocked utterly senseless.
He had learned the lesson, and in all his after life he never forgot it.
As the days went by, other dogs came, in crates and at the ends of ropes, some docilely, and some raging and roaring as he had come; and, one and all, he watched them pass under the dominion of the man in the red sweater.
As the days went by, other dogs came, in crates and at the ends of ropes, some docilely, and some raging and roaring as he had come; and, one and all, he watched them pass under the dominion of the man in the red sweater.
Again and again, as he looked at each brutal performance, the lesson was driven home to Buck: a man with a club was a lawgiver, a master to be obeyed, though not necessarily conciliated.
Again and again, as he looked at each brutal performance, the lesson was driven home to Buck: a man with a club was a lawgiver, a master to be obeyed, though not necessarily conciliated.
Now and again men came, strangers, who talked excitedly, wheedlingly, and in all kinds of fashions to the man in the red sweater.
Now and again men came, strangers, who talked excitedly, wheedlingly, and in all kinds of fashions to the man in the red sweater.
And at such times that money passed between them the strangers took one or more of the dogs away with them.
Yet his time came, in the end, in the form of a little weazened man who spat broken English and many strange and uncouth exclamations which Buck could not understand.
Perrault knew dogs, and when he looked at Buck he knew that he was one in a thousand— he commented mentally.
He speedily learned that Perrault and Francois were fair men, calm and impartial in administering justice, and too wise in the way of dogs to be fooled by dogs.
He was friendly, in a treacherous sort of way, smiling into one's face the while he meditated some underhand trick, as, for instance, when he stole from Buck's food at the first meal.
As Buck sprang to punish him, the lash of Francois's whip sang through the air, reaching the culprit first; and nothing remained to Buck but to recover the bone.
As Buck sprang to punish him, the lash of Francois's whip sang through the air, reaching the culprit first; and nothing remained to Buck but to recover the bone.
He was a gloomy, morose fellow, and he showed Curly plainly that all he desired was to be left alone, and further, that there would be trouble if he were not left alone.
He was a gloomy, morose fellow, and he showed Curly plainly that all he desired was to be left alone, and further, that there would be trouble if he were not left alone.
At last, one morning, the propeller was quiet, and the Narwhal was pervaded with an atmosphere of excitement.
He felt it, as did the other dogs, and knew that a change was at hand.
Francois leashed them and brought them on deck.
More of this white stuff was falling through the air.
He sniffed it curiously, then licked some up on his tongue.
Every hour was filled with shock and surprise.
No lazy, sun_kissed life was this, with nothing to do but loaf and be bored.
They were savages, all of them, who knew no law but the law of club and fang.
They were savages, all of them, who knew no law but the law of club and fang.
There was no warning, only a leap in like a flash, a metallic clip of teeth, a leap out equally swift, and Curly's face was ripped open from eye to jaw.
18.67%
Passive voice
Passive voice is used rarely.
3.92%
Bureaucratic language
Very low presence of bureaucratic language.
During the four years since his puppyhood he had lived the life of a sated aristocrat; he had a fine pride in himself, was even a trifle egotistical, as country gentlemen sometimes become because of their insular situation.
The next he knew, he was dimly aware that his tongue was hurting and that he was being jolted along in some kind of a conveyance.
They only laughed and poked sticks at him, which he promptly assailed with his teeth till he realized that that was what they wanted.
It was all very silly, he knew; but therefore the more outrage to his dignity, and his anger waxed and waxed.
he said, when he had made an opening sufficient for the passage of Buck's body.
Straight at the man he launched his one hundred and forty pounds of fury, surcharged with the pent passion of two days and nights.
They were a new kind of men to Buck (of which he was destined to see many more), and while he developed no affection for them, he none the less grew honestly to respect them.
There was imperative need to be constantly alert; for these dogs and men were not town dogs and men.
0%
Pleonasms
The text is almost completely free of pleonasms.
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.
9.83%
Descriptive Elements
The text contains minimal excessive descriptions.
0.08
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.
1.85
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.
0.14%
Long Descriptions
Long descriptions. This criterion evaluates the presence of consecutive descriptive elements (adjectives, adverbs, and participles) in the text.
warm long
wide cool
endless orderly
right royal
kindred outdoor
parched swollen
small high-walled back
strange uncouth
gloomy morose
0.14%
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: 3 times
utterly: 2 times
particularly: 1 times
The text is well-balanced, with appropriate use of capitalization and punctuation.
High level of lexical diversity.
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.
Good level of structural diversity. Different sentence types are used, making the text dynamic.
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
16%
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.
Speech dynamics are slightly below average.
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.
He plunged into the swimming tank or went hunting with the Judge’s sons; he escorted Mollie and Alice, the Judge’s daughters, on long twilight or early morning rambles; on wintry nights he lay at the Judge’s feet before the roaring library fire; he carried the Judge’s grandsons on his back, or rolled them in the grass, and guarded their footsteps through wild adventures down to the fountain in the stable yard, and even beyond, where the paddocks were, and the berry patches.
He was not so large,—he weighed only one hundred and forty pounds,—for his mother, Shep, had been a Scotch shepherd dog. Nevertheless, one hundred and forty pounds, to which was added the dignity that comes of good living and universal respect, enabled him to carry himself in right royal fashion.
The text’s tonality is well-balanced, combining expressiveness with neutral elements.
The text predominantly features dark tones, aligning with the genre requirements.
Emotions are conveyed clearly but not excessively, creating the right atmosphere.
The text conveys emotions expressively while maintaining structural harmony.
0.01%
Optimal number of exclamation marks.
The text is entirely free of redundant elements, with each sentence carrying meaningful content.
1.41%
dog, men, dogs, life, came, went, hand, club, saw, man
0.8%
so, then, next, well, finally
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.
!
0.01%
?
0.04%
:
0.01%
;
0.12%
,
1.47%
-
0.15%
–
0%
—
0.03%
24
Sentence Alternation
Optimal level of alternation between long and short sentences.
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).
29
Paragraph Alternation
Good balance of paragraph length alternation.
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.
85
Flesch index
Flesch Index - a readability metric based on sentence length and the number of syllables per word.
A simple text, suitable for young schoolchildren or individuals with minimal reading proficiency.
The text follows genre norms, incorporating key stylistic and thematic elements.