Not algorithms — but you can detect linguistic structures that writers use like crutches. Some examples: -Shakespeare and hendiadys (e.g. "sound and fury", "qu

Not algorithms — but you can detect linguistic structures that writers use like crutches. Some examples: -Shakespeare and hendiadys (e.g. "sound and fury", "quick and dead"). Hendiadys are obliquely related words joined by "and" to reinforce one another. They often sound better than the adjective-ized versions, like "furious sound" or "quickly dead". -Shakespeare and the personification of abstract nouns (e.g. "The better part of valour is discretion" or "the very heart of loss") With this technique, you attribute properties to the word itself — giving valour "parts" or loss a "heart". Another example: "Give me that man / That is not passion's slave, and I will wear him." — that abstract noun "passion" becomes a slaveowner. A lot of Shakespeare's quotable quotes are set up like this. Which makes sense — "John's passion" doesn't lend to universal soundbites, while capital-P "passion" doing the action, is something everyone can identify with. -At a simpler level, you can look at someone like Mary Karr, who heavily relies on similes ("she had a butt like two bulldogs in a bag"). The "algorithm" here is basically powering-up any description, with a comparison joined by like/as/than