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A Wonderful Guy

  by Eddie Shapiro

(about 826 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:

her. She was just a messy, messy girl. What I love about Kerry is that she’s unflappable. She’s not super emotional. That isn’t to say she’s not caring and wonderful, but she’s not fragile. Kerry is solid, and you know that no matter what happens, she’s going to catch you. If you miss a line or whatever, she’s there with you. Sometimes you can look at your costar and they’re like deer in headlights. Not Kerry. Sometimes my skate wouldn’t come off or whatever, and we would have to improvise. I always felt safe with her. She was easy, and she’s fun. It’s fun to be with somebody on stage who doesn’t have a lot of weird, emotional baggage. Not that I’m not—I’m very empathetic. I’m actually too empathetic. If I’m in a group of people and there’s ten people, and one person’s having a rotten day, I immediately can tell who it is. I home in on it, and I fixate. That’s actually lovely. It can be a nice thing. I’ve learned to love that about myself, but when you have a job to do, and you have a leading lady who’s emotionally fragile, you’re like, “Which version am I going to get today?” Luckily, I’ve had super solid Kerry Butler, Kate Baldwin, who’s like—talk about unflappable. She’s a broad in the body of a Rita Hayworth. She’s got it. It’s so fun to be onstage with her and that’s why I’ll continue to do this. Have got a good suit for the Tonys this time. A green velvet suit, green little bowtie, brown platform shoes. They called my name, and I just flipped out. I flipped out. I was so happy because this time I knew what it was all about. I jumped up and down. I kissed Stephen Schwartz, I kissed Stu Ostrow on his bald head. I ran up on the stage, so excited. I’ll never forget going into the park that night and standing in the middle of Central Park, looking at the city, I say, “You’re mine.” I don’t even know what that meant but, “You’re mine.” After that… I had been wearing Benny Hill clothes. I thought I was cool. Polyester pants, loud shirts with colored flowers on them. My manager at the time, Patti Falconer, wanted me to go to a party. I get there a little late. I am standing outside and this guy walks up, and he goes [in an exaggerated Italian accent], “You’re a star.” And of course, I had a brown, flowery, polyester shirt and brown pants, and brown and white platform shoes. He looks at me and goes, “[But] you don’t know how to dress. Look at you. Brown on brown in brown.” I was about to hit this guy, but at that time Patti walks up. She says. “Hey, Jack.” He says, “No, no, no. I’m Jacques Bellini.” She said, “No, you’re Jack Bell.” He said, “No, I’m Jacques Bellini, dresser to the stars

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 4128.64 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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