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Harold and the Angel of Death

  by Gary McPherson

(about 365 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:

I’m not sure it’s your place to decide the fate of Dad’s company, but I get your intention.” “You do know you’re more important than your father’s corporation?” asked Joshua. “Richard would never have sacrificed your well-being for his company.” “Yea, I’m glad you’re around to keep reminding me. Still, what do we do about Garcia’s proposal?” “I don’t have a clue. I’ve been thinking about it, and I can’t see a way around moving away if Garcia says that’s what it’ll take. From what you told me of your conversation, he is not leaving you too many choices.” Joshua looked down at Harold’s desk, and Harold did the same. There was no reason to feel defeated, and yet he did. He was going to lose his house. He was going to lose everything his father built, just like John predicted. A still voice inside reminded him that Garcia never said the move was permanent. “I have a question.” Joshua’s voice jerked him from his downward spiral. “What about Tom? He isn’t any older than you. Why would they make him the CEO?” “I argued with them about that. He has a military background and would be a great visionary for the company, but he’s no CEO. Garcia told me today that it was his idea because the two of us complement each other’s skill set.” Joshua’s brow wrinkled. “Would you say Tom would be open to suggestions from others since he is inexperienced?” “I had never considered that. Do really can cause him that level of consternation.” The bar was a sprawling affair. Surrounded by tables shaded by prawn roofs, the bar was a building without any exterior walls. Dark and faded wood housed a large U-shaped bar that encompassed every sort of liquor bottle one could ever imagine. They all sat nestled on wooden shelves that could be found on every side of the barkeeper’s domain. Tap levers holding beers from big labels to small microbreweries nobody had ever heard about lined an entire side. Harold spied Garcia and Joshua sitting at the bar at the same time Darla did. He had seen Garcia’s sunglasses before he saw Garcia. Joshua sat next to him, and the two men appeared to be in an animated discussion at the bar. Four other patrons were scattered about the large multi-sided bar. A man and woman sat together. They were obviously a couple, and judging from her Valentino handbag, they were probably from the yacht club. The two other men sat on opposite ends of the bar from each other. One of the lone men at the bar wore white khaki shorts, a pink polo, and white tennis shoes with white socks. The other man had short sandy hair parted on the side. He wore a short-sleeve blue plaid sports shirt and chewed on a cigar. The man appeared to be so involved in the soccer match playing on the television screen that he didn’t notice his cigar had long since extinguished

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 1822.60 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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