Text Rewriter

Paraphrasing in three modes with a depth control, built around a substitution engine that works offline. It is worth knowing what the offline path can actually change — on this page that is a small, listed vocabulary — so the choice between running locally and connecting a provider is an informed one.

Being Precise About How Much Gets Rewritten

Paraphrasing tools are described in language that suggests wholesale rewriting, and most of the offline ones do something much smaller. Rather than leave that to be discovered, it is worth stating plainly: the built-in path here substitutes words from a fixed synonym table. It changes vocabulary and leaves structure alone. That is a real use — varying repeated words in a draft, softening repetition — and it is not the same as rewriting a paragraph.

• The synonym table holds twenty-four headwords, each with a set of alternatives. A headword that appears in your text is replaced by one of its alternatives; words outside the table are left exactly as they were.
• Three modes select which alternative is used rather than changing how much is touched. The index into each word's alternative list is offset by the mode — nothing for Standard, one position for Fluency, two for Creative — so the same sentence produces a different set of substitutions in each mode while covering the same positions.
• Case is preserved per word: a fully capitalised word is replaced with a fully capitalised alternative, a capitalised word keeps its initial capital, and a lowercase word stays lowercase. That is what stops a substitution from breaking the capitalisation of a heading or a proper-noun-shaped word.
• Creative mode applies a second transformation on top of the substitutions, contracting common verb phrases — turning a phrase like "It is" into its contracted form, and doing the same for first-person and plural forms. It is a small, fixed set of contractions rather than a general contraction rule.
• An intensity control adjusts the depth of the pass, which in the offline path affects how aggressively the substitution runs rather than how far the meaning is allowed to move.
• Each of the three modes can be run on the same text and compared, which is the practical way to see how little the offline path changes and to decide whether the result is enough for the purpose at hand.

Getting a Useful Result From a Substitution Engine

1. Run Standard first and read the output against the input. On most text the difference will be small and confined to a few words, and establishing that early is better than assuming a rewrite happened and sending the result on.
2. Switch to Creative and run again if the change was too slight. The substitutions move to a different set of alternatives and the contraction pass applies, so the two outputs differ even though the mechanism is the same.
3. Use the comparison rather than reading one version in isolation. An offline pass is judged by what changed, and that is visible only against the original.
4. Decide on the basis of what you need. If the goal is to break up repeated vocabulary in a draft, the offline path is adequate and keeps the text local. If the goal is to restate an argument differently, the mechanism cannot do it — it changes words, not sentences — and that is the case for a provider.
5. Never rely on a synonym pass to avoid a similarity check. Substituting words leaves the sentence structure and the sequence of ideas intact, which is exactly what a comparison on word sequences still detects when the shared runs are long enough.
6. Keep the original text. Because the operation is replacement, some substitutions will read worse than what they replaced and reverting word by word is easier than regenerating.

Three Modes, One Mechanism

Alternative	Notes
Standard	Takes the first alternative for each recognised headword. The most conservative of the three and the one least likely to produce an awkward reading, since the first alternative in a list is usually the closest in sense.
Fluency	Offsets the selection by one position, so recognised words take their second alternative. Some of these read more naturally in context than the first, which is the intent; others are synonyms in the dictionary sense that do not fit every sentence, which is the risk with any substitution done without parsing.
Creative	Offsets by two and applies the contraction pass. The most changed of the three outputs and the one most likely to read oddly, because the alternatives furthest down each list are the least closely related to the original word.
What all three share	Sentence structure is untouched, nothing outside the twenty-four headwords is modified, and the meaning is not restructured. Three modes of the same small operation, not three grades of rewriting.

One Sentence, Three Modes

Take a sentence containing a handful of common words and run it through each mode to see the pattern.

• In Standard, a word covered by the table takes its first alternative and everything else is unchanged. If the sentence contains two recognised headwords, expect two differences and not more.
• In Fluency, the same words take their second alternatives instead. The sentence now differs from the Standard output at exactly those positions, which is a direct consequence of the offset — the mechanism is doing arithmetic on an index, not judging which synonym fits better.
• In Creative, they take their third alternatives and the contraction pass runs. That pass is what produces the largest visible change in ordinary prose, since contracted forms are far more common in English than any individual synonym pair and it operates on any matching phrase rather than only on the listed headwords.
• Across all three, the word order and the clause structure are identical. That is the clearest demonstration of the boundary: this is a vocabulary pass, and a reader comparing the outputs will notice the same sentence with different words rather than a rephrased idea.
• For repeated vocabulary in a draft — the complaint that a word appears six times in a paragraph — the offsets are genuinely useful, because successive runs draw different alternatives and break the repetition up. That is the use case the mechanism suits.

Honest Uses for a Substitution Pass

• Breaking up repeated vocabulary in a draft, which is the case the mechanism handles well and where the three modes give three different sets of alternatives to choose among.
• Softening a sentence by replacing a blunter word with a milder alternative from the same list, which a single substitution can achieve better than a wholesale rewrite.
• Producing a second version of a passage that is not a word-for-word duplicate, for internal material where the concern is repetition rather than similarity screening.
• Not for restating an argument in different terms. That requires understanding the argument, and no table of word alternatives contains that.
• Not for reducing measured similarity against a source. Word substitution leaves runs of identical words in place, and a comparison at a phrase length that still matches will still match — the structure survives untouched even as the vocabulary changes.
• Not for formal, legal or academic text, where a synonym chosen without regard to the sentence can change a meaning that was deliberate.

What the Offline Path Does Not Touch

The mechanism replaces words in a list and leaves everything else alone, which makes its limits easy to state precisely. Sentence structure is unchanged, word order is unchanged, and any word outside the table is untouched. Nothing is reordered, nothing is merged or split, and no clause is added or removed. In practice this means a long document will come back almost identical, because the density of table words in ordinary prose is low, and a short passage dense with common vocabulary will change more. The contraction pass in Creative mode is the part that most often produces a noticeable difference, and it operates on a fixed set of common phrases rather than on any verb construction.

• Case is preserved for capitalisation, so headings and acronyms survive the pass intact — an all-caps word is replaced with an all-caps alternative rather than being normalised.
• Punctuation and spacing are held outside the substitution, so the text's structural formatting survives.
• Nothing is sent anywhere and no key is needed. The table is part of the page and the pass runs in the browser.
• Connecting a provider changes the operation rather than improving the same one: the text is rewritten rather than substituted, and the text is transmitted in the process.

Questions About Paraphrasing

Why did so little change?

Because the offline pass substitutes words from a table of twenty-four headwords and leaves everything else alone. Ordinary prose does not contain many of those words densely, so a long passage will come back largely unchanged. The tool reports nothing misleading about this — the output is exactly what it is — but it is worth knowing before assuming a rewrite took place. Creative mode makes the largest difference, mostly through contractions rather than through synonyms.

Do the three modes make a real difference?

Yes, but a mechanical one. Each mode offsets which alternative is chosen for a recognised word, so the three outputs differ at the same positions with different replacements. Creative additionally contracts common verb phrases, which is usually the most visible change of the three. What the modes do not change is how much of the sentence is restructured, which is not altered by any of them.

Can I use this to get past a similarity check?

No, and the mechanism explains why. Comparison tools look at sequences of words, and a synonym pass changes individual words while leaving the order and the sentence boundaries intact. Long runs of identical words remain, which is exactly what a phrase-level comparison detects. If the goal is genuinely to express something in your own words, the replacement happens at the level of the sentence, and that is a different operation from the one this offline path performs.

What happens to my text if I connect a provider?

It is sent to that provider and rewritten rather than substituted — a genuinely different operation, with the sentence-level restructuring the offline path cannot do. That is also the point at which the text leaves your machine, which for unpublished or confidential writing is the decision worth taking deliberately. The offline pass exists so that there is a usable option that does not require that choice.

Last verified: October 3, 2026

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Maintained by Huang Bin · Last updated October 3, 2026