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Near the Bone

  by Christina Henry

(about 343 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:

his head to one side. He’d been watching her fixedly throughout her narrative. She couldn’t tell if he believed her or not, or if he understood how strange and frightening it had been in the cave. She didn’t think she’d communicated this properly. “How do you know it’s a warning?” he asked. “What else could it be?” Mattie’s frustration was mounting. She had to make them understand. “It didn’t hurt me, though it could have. I was all alone and had no weapon. I couldn’t do anything against it. But it just followed me and then it left those marks in the snow, so that we would know it had been there, so we would know that it knows where we live.” “Why were you alone in the woods?” Griffin asked. “I… Because William… It’s not important,” she said. This wasn’t something she could explain to a stranger. And it wasn’t important. They needed to leave. That was the important thing. Leave the mountain so that they would be safe. Leave the cabin so that she could find some way to eliminate the evidence of their visit. She peered out at the sky. The day had started off sunny but a heavy bank of clouds had moved in. It might snow. Snow would be wonderful. Snow would cover everything up and make it clean and William would never know. “Did your husband leave you out there?” Griffin asked. “In that state?” There was something in his voice, something Mattie had Mattie felt dizzy and a little sick to her stomach. William crouched down, peering closely at the patches of dirt interspersed between the rocks. Mattie breathed in deeply, trying to settle her racing heart. She caught a whiff of something rotting, the thick wet stench of decay, and felt the blood drain out of her face. Cold sweat poured down her temples as she covered her nose and turned her head away. Don’t get sick, don’t get sick, but there was nothing for it, she’d already felt nauseous and the smell undid her. Mattie stumbled away, trying to put a few feet between her and William. He was always deeply revolted when she vomited. He seemed to think that if only she had better control of her body then she wouldn’t get sick. “I told you to stay…” he started, but by then she was heaving out her breakfast behind a boulder. “Disgusting.” When she was finished, Mattie lay her cheek against the cool rock and wished for some water. Her throat felt scorched and her mouth was filled with a sour tang. Then William grabbed her by the back of her collar and yanked her up, dragging her back by her heels. Her coat was buttoned up high against the cold and it pressed against her throat, making her choke and gag as he pulled. He tossed her roughly to the ground on her back a few feet away. He climbed on top of her, kneeling, his knees holding

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 1712.94 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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