Who It's Going To
The recipient, your standing with them, and how the last exchange went. Without that, any assessment is about English in general rather than about this email.
The same sentence is fine to a colleague and cold to a client. A tone score for the text alone is measuring the wrong thing.
Tone lives between two people, not inside a paragraph. Below: what it needs to know first, what it points at, and what it will not change.
The recipient, your standing with them, and how the last exchange went. Without that, any assessment is about English in general rather than about this email.
You get the three lines that could land badly and why each one might — not a label for the whole message, which tells you nothing about where to edit.
Each flagged line comes with an alternative and a note on what changed. Softening a deadline into a suggestion is not a tone fix, so anything that moves your meaning gets called out instead.
Three steps from a draft you are unsure about to one you can send.
The draft and one line about who receives it — their role, your history, and anything currently tense between you.
It goes through the message from the recipient's position, marks the lines that could be taken badly, explains what would cause that, and drafts alternatives.
You know this person and it does not. Save the run as a Playbook so emails to the same recipient get read against the same context next time.
Everything here starts from the person receiving it rather than from the paragraph.
Per my last email is a joke between colleagues and a warning shot to a supplier. Short is efficient from a peer and dismissive from a manager. None of that is visible in the sentence, which is why a checker that reads only the text keeps flagging the wrong things.
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Being told a message reads as confident and slightly formal leaves you exactly where you were, holding a draft and a vague unease. The useful output is the third sentence of paragraph two, and the reason it might be read as an accusation.
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Most tone advice quietly softens the substance: a deadline becomes a hope, a refusal becomes a maybe. That is not a tone edit, it is a different email. Anything suggested here that would change what you are actually saying is marked as such.
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You write to the same twenty people all year, and the context you typed in once applies to all of it — this client is formal, that colleague reads brevity as annoyance. Your AllyHub never starts from scratch again, so the next draft gets faster every time.
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People sending something difficult, non-native writers, anyone managing across cultures, and teams where email is the only channel.
Chasing an invoice, declining a request, or telling someone their work needs redoing — the content is fixed and the only variable is how it reads. That is the email you rewrite four times and still send unsure.
Your English is fine, and register is the part nobody teaches. Directness that is ordinary in one language reads as rude in another, and there is no feedback loop — people respond a little more coldly and you never find out why.
A team spread across four countries has four defaults for how a request should be phrased, and the same message lands differently in each. Getting that wrong costs goodwill slowly and invisibly.
You have never met the person and never will, so every impression they hold of you was formed by punctuation. There is no corridor conversation available to soften a message that came out sharper than intended.
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Context, meaning, second languages, and writing to the same people.
A tool that tells you how a message is likely to be received. Most work from the text on its own and return an overall description — confident, friendly, formal — which is a fact about the writing rather than about the exchange it belongs to.
Yes, one draft at a time. Longer threads, several recipients handled differently, and keeping the context for people you write to often are on the paid plans.
Only because you tell it, in a sentence. There is no access to your inbox and no history it can look up, so an unexplained recipient gets treated as a neutral professional contact — safe, and less useful than the version where you spend ten seconds on context.
Not without flagging it. Softening is the standard failure of tone advice — the deadline becomes negotiable and the refusal becomes ambiguous — so any suggestion that would shift your position is marked separately from the ones that only change how it sounds.
Most score the text and leave you to interpret the score. Here the recipient is part of the input, individual lines get flagged with the reason, meaning-changing edits are separated from tone-only ones, and what you said about a given person carries into the next email you send them.