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  by Allison Moorer

(about 277 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:

the morning of August 12, 1986. I was a child and didn’t have to. My uncles, aunts, and even my sister weren’t so lucky. They had to go deal with my parents’ lives, their things, and face their goneness. They had to face the pain in the ass that is death. All of the dead person’s things and affairs have to be dealt with. Houses have to be emptied, belongings and property have to be distributed, bank accounts have to be accessed and closed, debts have to be analyzed and with any hope paid, life insurance policies have to be located, wills have to be read, social security benefits for minor children have to be applied for. The list goes on ad infinitum. And all of it has to be done by family members who are consumed with sorrow and disbelief. There should be a waiting period, a grace period. There should be time for breathing, for somehow trying to take in the new normal, as abnormal as it is. On the other hand, maybe it’s a blessing that there isn’t time. Maybe it’s better to have lists of things to do so that one’s emotional knees don’t buckle under the weight of why. And if you have time to think about why, you probably will. Better to keep your head down in details. Goneness. It sounds like a condition because it is. It’s not a blank space waiting to be filled, but a deep hole that will forever be sip of coffee, exhaled as much as I could, and tried to concentrate on slowing down my heart’s rhythm. I squinted through my glasses while delicately lifting up the top page just a bit using the thumb and index finger of my left hand and peeked under it. Daddy. August 12, 1986. 12 PM. 73 inches, 165 pounds, severely injured. He was so skinny. He and Mama didn’t even weigh a collective three hundred pounds. Clothing: The body is received with a tan and white striped short sleeved shirt, a pair of light blue boxer undershorts, a pair of blue jeans with a dark brown belt with a stainless steel colored buckle, a pair of low quartered gray “Reebok” running shoes, a black sock and a blue sock. I remember those clothes like I saw them yesterday except I can’t be sure about which pair of blue jeans. A black sock and a blue sock. Oh my God. Tears come. His socks didn’t match. A black sock and a blue sock mean no one was looking after him, and he wasn’t looking after himself. He didn’t care if his socks matched. How long had he been wearing them that way? I should’ve gone out to his trailer to do his laundry and mate his socks. I can’t stand the thought of him walking around wearing a mismatched pair, looking like no one loved him. Head and Facies: The top of the head has been blown off by a gunshot wound

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 1384.20 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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