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Acts of Vanishing

  by Fredrik T. Olsson

(about 597 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:

but there’s a first time for everything. ‘Sweden. You’ll love it.’ That’s what they’d said. And then they’d given her a staff team, slapped her on the back and wished her good luck. Now she was here, she didn’t like it one bit. Cathryn Forester was standing on the flat, square roof of the equally square HQ, and her face was being whipped by a horizontal, ice-cold precipitation that could not accurately be described as either rain or snow. She was freezing, and she was tired, and everywhere she looked the windows of Stockholm looked back at her like tiny hot-tempered dots. No, she didn’t love Sweden. And it seemed to be mutual. Ever since she’d arrived, Sweden had offered her nothing but trouble. On paper, it had all sounded so simple. Someone was going to be at Stockholm Central Station at a certain time on the third of December, and that person would therefore be guilty. With his help–she’d assumed it would be a he–they would work their way backwards and establish who was behind the attacks and why. Now though, she wasn’t at all sure. The man they had arrested was clearly genuinely bereft, and he had explanations that, while convoluted, were perfectly plausible. And isn’t that the way life is? It is convoluted. It is full of coincidences and far-fetched events, and if anything is suspicious it’s when the opposite is true. Cathryn Forester was starting to have her doubts, and she hated it. She’d cooked very recently, onions fried in butter perhaps, a sweet, welcoming scent that mixed with fresh coffee and the smoke that leaked from the wood-burning stove. In the middle of the room was a three-piece suite in mottled, satchel-brown leather, and beyond that a desk of dark-stained wood, all straining under the weight of neat piles of books and periodicals or equally well-stacked electronic devices. The ceiling was low. The walls and ceiling panels were made of yellow pine, and the floor strewn with overlapping thick rugs bearing deep red patterns and giving the room a dry, calming quiet. The stacks of books and magazines spread out in all directions, on shelves, on the floor, on tables, on chairs, and try as she might, she could see no evidence of tinfoil around the windows, no chicken wire lining the walls to disrupt electronic bugging devices, nothing to suggest that this was the home of a paranoid lunatic terrified of wide-reaching, awful conspiracies. ‘Disappointed?’ she heard Tetrapak ask behind her. She noticed his squinting smile, two warm eyes and something resembling a dimple that caused his beard to gather in a tuft on one cheek. ‘I’m not quite as mad as people expect. Sorry about that.’ He gestured towards a stool in front of one of the bookcases, and she realised for the first time that it actually belonged to a grand piano that seemed to have retired from music some time ago, the flaking nut-brown varnish on its closed lid

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 2987.08 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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other books by Fredrik T. Olsson

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