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Varina

  by Charles Frazier


(about 398 pages)
99,497
total words
of all the books in our library
61.76%
vividness
of all the books in our library
5.08%
passive voice
of all the books in our library
2.73%
all adverbs
of all the books in our library
0.79%
ly-adverbs
of all the books in our library
1.95%
non-ly-adverbs
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:

MOST PASSIVE PAGE
MOST VIVID PAGE
harddeeper than she would have thought. She couldn’t stop feeling guilty that she hadn’t been there for his burial, couldn’t stop remembering how he had tried to divert Joseph’s rage, couldn’t stop feeling exposed and at risk knowing he was gone. But she kept her feelings tamped, since no one—especially Jeff—would understand her grief for Pemberton. There wasn’t a vocabulary to explain their relationship to other people. There still aren’t words now, V says. But you could try. It sounds like Pemberton protected you the best he could when you didn’t have anyone else on your side. That’s exactly the way it was. And when he died it felt almost like Winchester had passed. Like a father had gone for good, but I couldn’t say that. She thinks a moment and then says, I don’t know why, but I remember one evening Pemberton telling me he wouldn’t be around for a day or two. That he was going to visit a man he knew—an old friend—on a plantation twenty miles away. He said he’d gotten word the man had been beaten badly because after he’d groomed a horse his master had wiped a white handkerchief down its neck and it came back dirty. I was so young. I mostly felt happy that he trusted me enough to tell me where he was going and why. I told him I’d never been around those horrors and always felt like they were mostly stories. He said, It’s fistfuls of that nearly worthless paper. One-dollar bills—with her friend Clement Clay’s graven image on the front—were useless except to wad by the dozens and light cookfires. Wherever the fugitives traveled, rumor followed that their little caravan comprised the Treasure Train, the last hoard of gold and silver from the Rebel treasury, wagons heaped with millions in bullion instead of weary, scared children threatening to go croupy and feverish at every moment. In delusion, bounty hunters surely rode hard behind, faces dark in the shadows of deep hat brims, daylight striking nothing but jawbones and chin grizzle, dirty necks, and once-white shirt collars banded with extrusions of their own amber grease. Below that, wool coats black as skillets, muddy tall boots, and bay horses foaming yellow sweat. And yet, all along the way, the woods-edge spooled by lined with redbud blooming pink and dogwood blooming white, bearing the holy cross of the Savior. The nail wounds hammered into his hands printed on every blossom, reproduced in their billions through the Southern woods and even blooming hopefully in the yards of homes recently burned down to middens of shiny black charcoal by the Northern army. Their immediate goal? Escape to La Florida. Tierra Florida. Floridaland. A raw frontier with Spanish moss hanging ghostly and parasitic from granddaddy live oaks. Black mold streaked gray limestone Spanish forts from parapet to white sandy ground and algae-green moat. Alligators, bears, lions, and purple snakes nine feet long roamed the swamps and jungles

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 1989.94 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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other books by Charles Frazier

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