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When Darkness Loves Us

  by Elizabeth Engstrom


(about 251 pages)
62,665
total words
of all the books in our library
64.63%
vividness
of all the books in our library
6.74%
passive voice
of all the books in our library
3.23%
all adverbs
of all the books in our library
1.03%
ly-adverbs
of all the books in our library
2.20%
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
has been closed up for years. I’m sure the top has been sealed.” “I can do it. I’ve got to get Clint out of here.” “You can’t do it. Look at you. You’re skin and bones and half dead. Do you know how you’d get up there, with no rope? And once you got to the top, then what? How are you going to open the lid? Forget it, Sally Ann.” “I can do it and I will do it and I don’t need you telling me I can’t. Now you can help me or you can go away.” “I won’t help you kill yourself. How fast have you been losing your teeth?” Her hand went to her mouth, to the sore gums and the holes she tried not to think about. “Come on, we can find our way back to the home cavern.” “And do what? Rot? Have you ever thought what will happen to Clint after I get old and die? No, Jackie, this is our only way out.” “What’s the difference, Sally Ann? You can die here, or you can die in that hole.” She took his arm and looked into his eyes. He looked so sad. “Jackie, we can get out of here. All of us…” “Not me, Sally Ann. I can’t go. I don’t know why, but when you don’t need me anymore, I think I’m going away.” “Well, I certainly don’t need you now!” She was instantly sorry she had said that, and had place to be, a healthy place. They walked up the sagging porch steps, through the torn screen door and into the house. It was stark. The furniture was heavy, wooden, and unadorned. The big room housed both kitchen and living area, with a wood-burning stove and scarred enamel sink. Filthy curtains that had been red-checked hung in faded tatters above the sink; the cupboards were open and the dishes filled with dirt. Dingy sheets were spread over the sofa and the overstuffed chair. The place had a look of hot summertime in the dust bowl. They carried their bags into the bedroom, where Harry immediately changed into overalls and a white T-shirt while Fern modestly turned her back. Fern unpacked the bags, hanging their clothes next to the ones in the closet, and put on a cool housedress. Without a word to each other, they went to work, Harry outside, Fern inside. She discovered a rather pretty, though faded, green and pink floral print on the sofa and chair. Under another filthy, dusty sheet, the bedspread was a hand-sewn quilt in a starburst pattern of gold and brown calico. She changed the linen, dusted, swept, and washed dishes. She hummed to herself as she worked. Her new husband would be pleased with their life here. She would make it so. At sundown, neighbors came over with fried chicken, cold beer, and news of the neighborhood. Sam and Addie Smith lived on the next farm over. They’d taken all the livestock

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 1253.30 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.

similar books by different authors

other books by Elizabeth Engstrom

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