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The Survivors

  by Adam P. Frankel

(about 318 pages)
total words
of all the books in our library
of all the books in our library
passive voice
of all the books in our library
all adverbs
of all the books in our library
of all the books in our library
of all the books in our library

clippings from this book

We’ve analyzed hundreds of millions of words, from thousands of different authors, training our linguistic models to recognize the most vivid words in the English language… the words that create the most intense sensory experiences: colors, textures, sounds, flavors, and aromas.

Based on our analysis, we’ve scanned through the pages of this book to find the two pages at the extremes, both the most-passive and the most-vivid pages, so that you can compare them side-by-side and see the difference:

in the belief that I might have been better equipped to withstand the chaos of it when I was older. But that wasn’t Mom’s argument; she’d never intended to tell me at all. She preferred to have everyone think I was my dad’s son. Later, I’d learn she’d actually discussed all of this with some of her closest friends at the time. “She would talk about it a lot,” her friend Beth told me. “She was worried your dad would find out. She didn’t know whose son you were until you were born. But with your physical appearance, she feared a connection would be made. She didn’t think Jason would make a good father. And she was glad you had a relationship with her husband and he took you as his son.” When I reached out to Isabel, the friend who’d saved my mom’s life after the suicide attempt—the first time we’d connected in more than a decade—it was as if she’d been waiting for the call. “I’ve thought of you often over the years. You know,” she told me, “you had three people loving you when you were growing up—some people don’t even have two. “Over the years, I’ve wondered if your mother would tell you,” she continued. “It just wasn’t my place to say anything when you were young, so I never did. I’m sorry.” I told her she had nothing to apologize for, but her words were a reminder of the ways secrets can Jewelers, occupies 8961/2 Whalley Avenue, beneath the shadow of West Rock, a rusty peak overlooking the city. From the outside, The Store, as everyone in the family calls it, looks every one of its nearly sixty years, declaring the name of its proprietor in fat neon tubes. The P stopped working years ago; the E-R-E emit only a dull glow. “We buy and sell gold and silver,” reads a hand-drawn sign in the window, a pull for the occasional walk-in. The avenue’s namesake, seventeenth-century English judge Edward Whalley, was a signatory to Charles I’s death warrant before fleeing to the New World, the first—but not last—refugee to settle in the neighborhood. The entire store is a single aisle, ten paces long with a dropped ceiling overhead, brown linoleum tiles underfoot, and a musty smell hanging in the air. On the left are waist-high glass showcases, their tops bare except for a twirling hand-held mirror, a cardboard coin folder for a children’s leukemia charity, and a rotating plastic dispenser of Twist-O-Flex watchbands. Inside the showcases are timepieces, jewelry, and miscellaneous accessories: wristwatches, pocket watches, travel clocks, bracelets, necklaces, brooches, key chains, rings, earrings. Toward the back, where the showcase on the left meets another, straight ahead—forming an inverted L—is a workman’s table, a “bench,” as it is called in the trade. That’s where Zayde himself can be found, hunching over shallow turquoise saucers, brimming with gears, springs, and screws, arranged on a thin sheet of paper

emotional story arc

Click anywhere on the chart to see the most significant emotional words — both positive & negative — from the corresponding section of the text…
This chart visualizes the the shifting emotional balance for the arc of this story, based on the emotional strength of the words in the prose, using techniques pioneered by the UVM Computational Story Lab. To create this story arc, we divided the complete manuscript text into 50 equal-sized chunks, each with 1588.54 words, and then we scored each section by counting the number of strongly-emotional words, both positive and negative. The bars in the chart move downward whenever there’s conflict and sadness, and they move upward when conflicts are resolved, or when the characters are happy and content. The size of each bar represents the positive or negative word-count of that section.

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