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  by Callan Wink

(about 408 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:

glass. “Don’t worry about it,” he said. “Not a big deal.” “You didn’t cut yourself.” “I did, actually.” “I know exactly what it was on those sheets. You can’t even look at me.” “It’s really none of your business. Live your life. I’m doing fine in mine.” “This can’t continue,” she said. “I will be calling her.” “Calling who? Okay, so what? I had a girl over last night. It’s someone from school. We hang out occasionally. It’s life. People have sex.” “It is life, you’re exactly right. And if I thought it was someone from school I wouldn’t be all that concerned, or even surprised. But I know damn well who it is, so we can just stop pretending. Listen, Augie, I’m not mad at you at all. You’ve done what probably every seventeen-year-old boy in the world would do if given the chance. The problem is not you. The problem is her. She’s closer to thirty than she is twenty. She does not need to be messing around with high schoolers. Not my son, anyway. You’re not playing on the same level. You may think you are, but you’re not. Trust me.” “What? You mean, you think it was Julie? Is that what you’re saying? You’re crazy.” “Stop it.” She stood, came to him, reaching for his hand. Her voice was soft now. “I’m not mad. I love you more than anything, and that’s why I have to step in here. It’s not right. It just really isn’t opened for the season. It was a small whitewashed plywood structure with a corrugated metal roof and awning. Behind a low counter were racks of jars: apple butter and strawberry-rhubarb jam, pickled asparagus and green beans and cucumbers. Shelves of baked goods, pies, and loaves of white bread. There were large plastic bins stacked for the eventual produce that wasn’t yet ready for harvest and a hand-lettered sign: SELF-SERVE. PUT CASH IN THE BOX. FOR FRYERS DRIVE TO COLONY. NO SUNDAY SALES. August stood considering the jars of jam and preserves. Chokecherry jam. He’d never seen that before. It was a warm day, and the pies seemed to glisten and sweat under the plastic wrap. He picked out a loaf of plain white and a loaf of sourdough and a jar of apple butter and a jar of the chokecherry. He was digging through his wallet for correct change when a Hutterite girl came up from the colony, towing a wheeled metal cart. From the cart she lifted a large box full of baked goods. She smiled at August and began restocking the shelves. August watched her, blond hair, a few tendrils escaping the polka-dot kerchief she wore over her head. A dark-green dress with a black apron, her feet bare, soles dirty as she raised up on her tiptoes to reach the top shelf. She was humming. “This chokecherry jam,” August said. His voice seemed loud, bouncing around under the tin roof of the shed. The girl turned, startled

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 2039.94 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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