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Suzanne’s Diary for Nicholas

  by James Patterson


(about 162 pages)
40,464
total words
of all the books in our library
43.51%
vividness
of all the books in our library
9.12%
passive voice
of all the books in our library
3.92%
all adverbs
of all the books in our library
1.24%
ly-adverbs
of all the books in our library
2.68%
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
had been born. Nicholas the Warrior. Another child was growing inside her. Katie had to think and be logical about this. What were all the possibilities? What could really be happening now? Matt had been cheating on Suzanne all of these months? Matt had been cheating, and Katie wasn’t the first? Matt had left Suzanne and Nicholas for some reason that was yet to be revealed in the diary? They were divorced? Suzanne had left Matt for somebody else? Suzanne had died—her heart had finally given out? Suzanne was alive, but very ill? Where was Suzanne right now? Maybe she should try to call her on Martha’s Vineyard. Maybe they should talk. Katie wasn’t sure if that was a good idea or if it would be one of her worst blunders ever. She tried to work it through. What did she have to lose? A little pride, but not much else. But what about Suzanne? What if she had no idea about Matt? Was that even faintly possible? Of course it was. Wasn’t that pretty much what had happened to Katie? Anything seemed possible to her right now. Anything was possible. So what had really happened? This was so overwhelmingunbearable. The man she had loved, and trusted, and thought she completely understood, had left her. Wasn’t that just typical these days? Wasn’t it sad? She remembered a particular moment with Matt that kept her going. He had woken up beside her one night and was crying. She had ocean, our sweet and salty garden, and the summer shutters that clack all night against the house when it’s windy. But now I don’t have to. We decided to make the sunroom of the house yours. We thought you’d love the way the morning light comes pouring over the sills to fill every nook and cranny. Daddy and I began converting it into a perfect nursery, gathering things that we thought you might love. We hung wallpaper that danced with Mother Goose stories. There were your bears, your first books, and colorful wall quilts that hung over your crib, the same crib Daddy had when he was a baby. Grandma Jean had saved it all these years. Just for you, pumpkin. We jammed the shelves with far too many variously colored stuffed animals, and every variety of ball known to sportsmen. Daddy made an oak rocking horse that boasted a beautiful one-of-a-kind crimson and gold mane. Daddy also made you delicately balanced mobiles filled with moons and stars galaxy. And a music box to hang in your crib. Every time you pull the cord, it plays “Whistle a Happy Tune.” Whenever I hear that song, I think of you. We can’t wait to meet you. Nick, Matt is at it again. A present was on the kitchen table when I got home from work. Gold paper covered in hearts and tied blue ribbon concealed the contents. I couldn’t possibly love him any more than I do. I shook the small

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 809.28 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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