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Matchless

  by Gregory Maguire


(about 11 pages)
2,792
total words
of all the books in our library
90.85%
vividness
of all the books in our library
5.55%
passive voice
of all the books in our library
2.51%
all adverbs
of all the books in our library
0.36%
ly-adverbs
of all the books in our library
2.15%
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
but Frederik didn’t know where to find any. Until its thread was used up, Dame Pedersen wouldn’t relinquish a spool to serve as company. FREDERIK HAD DECIDED that the residents should go sailing to hunt for more family. So he was building a harbor out of pebbles. Next he would need a boat. When someone pounded at the door, his mother started from her nap—”Merciful angels! Have the seagulls grown fists?” Frederik reached the door first. THE VISITOR SAID to Dame Pedersen, “Our Queen has ripped her cloak on her way to the Christmas Eve ceremonies. She’s to preside over prayers and feast and frolic of all varieties; so she demands you come with your supplies! She has sent her coach so I might hurry you along, but dress snug. Ice is even forming on the harbor.” “You would think the Queen has toes of lead,” said Dame Pedersen. “She can’t see a hem without stepping on it. Still, the hungry rarely get a holiday, so I will come.” “YOU’RE A GOOD WOMAN, to venture out in this cursed cold. Myself, I’ve had enough of the Queen’s misadventures. On Christmas Eve I’d rather be home with my wife or my grog, or both. I intend to seek other employment in the new year.” But Dame Pedersen turned to Frederik. “Dear boy, I’ve never left you at night before. Will you be safe?” Frederik nodded. DAME PEDERSEN bustled away, muttering to the coachman: “One of God’s simples, that boy; can’t fried the fish and then plunged under the warm coverlet to do her mending there. The Queen had a heavy foot and always stepped on her own hems, so every evening Frederik’s mother reached for her basket of threads, all wrapped tightly on wooden spools. EVEN ON CHRISTMAS EVE she plied her needle. Humming sentimental melodies of the season, she stitched while Frederik washed up. As soon as she nodded off over her scissors, Frederik scampered up the ladder to his attic. THE ROOM reeked with the salt tang of the sea and the sweet rawness of the smokehouse. He didn’t mind; this was his room, to which his mother in her exhaustion could never manage to climb. HERE he was not fish-thief, but governor. ON THE PLANKS of the attic floor waited Frederik’s secret: a town hunched on an island, a heap of netting that had washed into his path once when north winds drove the waves clear across the causeway. The houses were made of empty boxes that he’d lifted from merchants’ rubbish bins. Frederik cut out windows and folded the cardboard: perfect hinged shutters. He built eaves out of slates that the wind had liberated from real roofs. He planted trees by poking sprigs of balsam into dollops of boat caulking. Best was the customhouse: a gold-papered chocolate gift box sporting a porcelain dome—an upturned bowl of chipped blue china. FREDERIK’S TOWN boasted only two residents—two threadless wooden spools with heads made out of acorns

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 55 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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