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I Can Only Imagine

  by Bart Millard & Robert Noland

(about 206 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:

new ideas. I kept coming across where I had written “I can only imagine.” It was everywhere. I hadn’t realized how much I had jotted down those words. In that moment, I finally saw the phrase so clearly. As in my moment of realization with Shannon, the words had been there all along, right in front of me. Now the timing—God’s timing—was right for this new song to be born. I found a brand-new page and grabbed a pen. As fast as I could write, the words came. I can only imagine what it will be like When I walk, by Your side I can only imagine what my eyes will see When Your face is before me I can only imagine I can only imagine Surrounded by Your glory What will my heart feel Will I dance for You Jesus Or in awe of You be still Will I stand in Your presence Or to my knees will I fall Will I sing hallelujah Will I be able to speak at all I can only imagine I can only imagine I can only imagine when that day comes When I find myself standing in the Son I can only imagine when all I would do is forever Forever worship You I can only imagine I can only imagine† I wrote the lyrics just like that, the very first time, as they were on the original recording, as they still are today. No tweaks. No changes. That was keys to a large tractor with a massive mower box underneath that you could raise and lower. I was supposed to cut the grass under and around all the city water towers and storage containers. That part wasn’t too bad—just really hot outdoor work sitting almost on top of a large diesel engine. But wait, there’s more! Each week I had to go to the sewer plant and put on rubber wading boots, protective eye goggles, and a gas mask circa World War II, fire up a high-pressure water hose, and squirt all the… uh, human excrement… that was caked up like concrete inside the tank, the goal being to force it down the massive drain in the middle. The aforementioned doo-doo was piled about three feet high all the way across the huge circular container. Picture standing in a giant commode that has backed up due to a particularly large bowel movement (and not your own, by the way) and having to forcibly and manually flush it by applying a stream of water. I’m so sorry. I’m just trying to accurately paint this picture for you. That job involved more gagging than you would ever think possible. In the blazing summer heat, my sweat pooled up in the gas mask, and I would be forced to remove the antique apparatus to wipe my face off to be able to see. But that would expose my nose to the stench and trigger my gag reflex, causing me to throw

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 1029.98 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.

similar books by different authors

other books by Bart Millard & Robert Noland

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