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Family Album

  by Danielle Steel

(about 637 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:

could have walked off into the sunset with him that night, hand in hand, and everything would have been all right for the rest of their lives. But it didn’t happen like that. Did it? It couldn’t … or maybe it did … maybe that was “the real thing” that everyone talks about. “It’s too soon, Ward.” “Too soon for what?” He looked matter-of-fact. “Too soon to tell you I’m in love with you? Well, maybe it is. But the fact is, Faye, I am. I’ve been in love with you for years.” “Then it’s an illusion.” “No, it’s not. You are exactly who I sensed you were. You are smart and realistic and practical. You are modest and warm and funny and beautiful. You don’t give a damn who the press agents say you are. As far as you’re concerned, you like what you do, you work hard. You are the most decent woman I’ve ever met, and what’s more you’re good at what you do, because of all of the above … and if I don’t drag you out of here and kiss you in the next five minutes, I’m going to go nuts, Faye Price, so just shut up, or I’ll kiss you right here!” Her eyes were worried, but she couldn’t help smiling at him. “What if you figure out that you hate me in six months?” “Why should I?” “I probably have habits you’d detest. Ward, I’m telling you, you don’t know who I am. And I don’t rug in dusty pinks and pale blues with scattered flowers all over it, the English furniture she had selected so carefully, the silver pieces that Arthur polished till they shone, and beyond her study she could see the lovely French crystal chandelier that hung in the hall, the dining room with its English table and Chippendale chairs and another chandelier beyond. It was a home that gave her pleasure every day, not just because of the beauty of its treasures, but also because of the contrast to the threadbare poverty she had grown up with. It made each object more precious, from every silver candlestick and lace tablecloth to each gleaming antique. Each was a symbol of he & accomplishment and its rewards. There was a handsome living room as well, with a pink marble fireplace, and delicately shaped French chairs. She had blended English with French, a few modern pieces with the old, two lovely Impressionist paintings that had been a gift from a very, very dear friend. And a small but elegant staircase led upstairs. Here, her bedroom was done entirely in mirrors and white silks, like the kind of fantasies she had had as a little girl, enamoured by the movies. There was a white fox bedspread on her bed, fur pillows on the couch, a white fur throw on the chaise longue, and a white marble fireplace identical to the one in her mirrored dressing room. Her bathroom was all done in white marble and white tile

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 3186.34 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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