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Cradle and All

  by James Patterson


(about 236 pages)
59,001
total words
of all the books in our library
52.26%
vividness
of all the books in our library
8.42%
passive voice
of all the books in our library
3.41%
all adverbs
of all the books in our library
1.27%
ly-adverbs
of all the books in our library
2.13%
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
he’d suddenly received a blow. “But, Anne, I’m not certain. Ultimately, this will be a matter of faith. It will not be simple. Nothing ever is.” “Tell me about it,” I said under my breath. Rosetti’s voice intensified. “You must watch for a clear sign. A sign at the moment of the birth was promised. We will know which child is the Beast and which is the Savior. You will know.” I felt as if I were watching myself in a dream; everything was unreal and nothing made any sense. “But then what do I do?” I begged. He was resolute. “Anne, the Beast must be killed. The child of the Devil must be destroyed. And the child of God must be protected at any cost to us. Any cost.” Reading my shock, Rosetti made the sign of the cross. “You will know what to do when the time comes,” he whispered. “That’s why you’re here.” I stumbled then, and Rosetti gripped my shoulders. Made me look him in the eye. I had faith, yes. But trusting in God was one thing, and killing a newborn infant was another. Could I do it? I didn’t think I could ever kill again. “I d-don’t know, Father,” I stammered. “I believe in you, Anne,” Rosetti said. “You are a good person. You are the strongest of all of us. You can defeat the Beast.” Was that why I was going with Kathleen? Because I was supposedly a strong person? And why were water and up toward the dunes. As she brushed her way through the high yellow grass, something darted out and stood directly in her path. A red squirrel stood on its hind legs, chittering. Its beady black eyes gazed right into hers. “What’s up with you?” she asked it. As she glanced up toward her elegant, white-frame Victorian home, she noticed a second red squirrel. It was staring at her from a branch of a tree. And there was a big gray one hunched over, lumbering forward like a tiny bear. Coming at her? Watching her? Kathleen heard a screeching cry above her head. Looking up, she saw the flapping white wings of half a dozen circling gulls. Swooping. Kiting. Sailing over the gray beach like rudderless ships. Were these birds keeping an eye on her, too? Watching? Kathleen heard a whirring, the buzzing of insects, in the waving dune grass. A cloud of blackflies appeared just above the grass. Watching? She started to cough; she waved both hands in front of her face. Down the beach, two usually friendly golden retrievers began to bark. Other neighborhood dogs took up the howling, yelping, whining, baying. Kathleen’s heartbeat quickened. The squirrels. The screeching gulls. The buzzing insects. The thick cloud of blackflies. The howling dogs. They all seemed to be gathering in a tightening ring around her. They hated her, didn’t they? Am I going crazy? “Stop it! Stop it! Stop it!” she screamed. “Just fucking stop it!” Cradling her swollen

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 1180.02 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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