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The Moonshiner’s Daughter

  by Donna Everhart

(about 418 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:

would be a year. Maybe he’d be ready then. Maybe I would be too. After the visit, Merritt didn’t tell me what was said between them, and I didn’t ask. Every now and then I’d catch him looking at me like he had a question, but it never came out. I could picture the conversation for myself, could imagine Daddy’s skepticism over my newfound willingness and loyalty. Maybe he needed evidence I wasn’t playing a game, and the only thing I could offer as proof was persistence. Keep doing it, and maybe once he was out, he’d come to realize I was dedicated and as invested as any Sasser before me, and certainly as much as Mama had been. If I had to admit it, I was actually dumbfounded by my change of heart, and I’d had many a conversation with myself already. Just what was it that had changed within me? It had been seeing Daddy in that place, seeing his hopelessness, and knowing if anybody belonged in a cell, it ought to be a Murry, not him. It had been finding out about Mama, her talent for hauling, the respect she’d had, her pride in what she did, her resilience. Those things motivated me, made me want to fix what I’d had a hand in causing. I’d realized I’d acted like I’d been born to some other name, some other family, with no allegiance. I didn’t want to admit Willie Murry might have been right about what he’d trees, only tall golden grasses that waved in the breeze on a light brown sandy hill. Daddy parked the car on the side of the road, and we walked down a rough wooden walkway, across another small sandy rise to face an endless expanse of blue-green water, with an edge of white foam that came toward us, then retreated. There was a different smell to the air. Instead of fertile, pungent soil, and comfortable dry breezes scented with the pine, cedar, and wildflowers I was accustomed to, there was a different sultry odor, one that was seaweed-scented, briny with an overlying fishy odor carried on warm, moist wind. I could hear a flock of birds overhead, calling to one another in a high-pitched cry, all of them white with varying colors of gray and black on their wings. They swooped and sometimes rode the wind, suspended against a blue sky before settling on the strip of sand. Daddy waved an arm at the water, and said, “It’s the Atlantic Ocean. Wanna swim in it?” I shook my head yes, and we’d spent the rest of the day doing just that, him tossing Merritt up and down in the waves, and showing me how to ride them. Although we’d never been back, I never forgot the sensation of being weightless as the swells of water came and went. We left once the sun rested on the edge of the water, turning the sea orange as if a fire burned just beneath

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 2090.10 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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