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  by Geraldine Brooks

(about 500 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:

spoke more sharply. “Whatever she might be, it doesn’t mean that I won’t do what I know to be right.” Jess sighed, defeated, and smiled at him. “You’re just a better person than me, I guess. When are you going to take it over there?” “Maybe tomorrow morning? I was hoping you’d stay the night and come with me before you head to work. I think she’ll be more relaxed if there’s a White woman at her door, rather than just me.” “That’s awful.” He felt a flare of anger. “You think I don’t know that?” “I’m sorry.” He took her face between his hands. He’d thought her eyes were green, but he’d come to realize that they were more than that. All the colors of the forest were there—flecks of umber, bronze, and gold. “It is what it is,” he said. “But I can’t let it change what I am. You do get that, right?” “Of course I do.” And that’s why I’m falling in love with you. She wanted to say it. But he was gently extricating himself. “I’m going for a quick run before dinner.” “But it’s still raining, and it’s getting dark,” she whined. “And the moussaka smells so good!” “It’ll be even better in an hour. It’s just a light drizzle now, and Clancy’s barely been out all day, have you, mate?” The dog looked up, tilting his head in agreement. “That’s true—I’ve been hogging you.” It had been a relaxing Sunday. They’d color? Fuck him!” The paint sailed through the air, silky and billowing, splashing onto the canvas in an emphatic diagonal. “I’ll give him fucking color.” With his left hand, he scooped up a jam jar of vodka from a card table crusted with stalactites of old paint. He swilled the drink and without looking slammed the glass back onto the table. It hit the edge, shattering. Martha flinched. Glass shards shimmered on the canvas. He crouched and ran his hand right over the slivers, grinding them into the paint. Blood now joined the riot of color coruscating over the black-primed linen: crimson drips and smears amid the yellow, the silver, the filaments of white. And slashing across it all, the march of those aggressive blue exclamations. Martha stood pressed into the splintery wall of the shed, the full skirt of her frock tucked tightly around her in an effort to protect it from splatter. Across the studio, her friend sat coiled easily in a chair, eyelids at half-mast, relaxed as a cat. Martha noticed with surprise that she was smiling. How could Lee have learned to be so numb to this man’s violent theatrics? As the last spurt of Prussian blue hit the canvas, he stepped back and flung the beam away. It hit a shelf on its journey through the air, bringing two paint cans down. The lid flew off one. A flume of glossy liquid lapped across the barn boards in a chrome-yellow tide. Lee’s face remained expressionless

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 2499.56 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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