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Violets Are Blue

  by James Patterson


(about 306 pages)
76,454
total words
of all the books in our library
45.19%
vividness
of all the books in our library
9.28%
passive voice
of all the books in our library
3.69%
all adverbs
of all the books in our library
1.25%
ly-adverbs
of all the books in our library
2.44%
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
you. I didn’t even want to kill them, but I had to do it. That’s the way the horror story has to go. It’s out of control now. I’ll admit that.” The horrifying confession came at quarter past five in the morning. I had been asleep about three hours when the phone rang. Panic raced through my body. My heart was pounding so hard I could hear it. “Who did you kill?” I asked Kyle. “Who? Tell me who it was. Tell me.” “What difference does it make? They’re dead, slaughtered. It’s someone you care about. There’s nothing you can do now—except catch me. I suppose I could help you. Isn’t that what you want to hear? Would that make this more interesting for you? Would it make it fair?” He started to laugh uncontrollably. Christ, I had never known him to lose control. I let him go on. Inflated his ego. That’s what he wanted and needed, wasn’t it? Who had Kyle killed? Oh God, who was dead? It was more than one person—slaughtered. “We always worked as a team. In a way, it would be my crowning moment—to catch myself. I’ve thought about it, actually. Fantasized. What better challenge could there be? I can’t think of one. Me against myself.” He started to laugh again. I had to force myself not to ask again who he had murdered. It would just make Kyle angry. He might hang up. Still, my mind was grinding. I was dress for the night was definitely eye-catching: antique morning coats and top hats, velvet Victorian gowns, corsets, walking sticks, tiaras. The Goth crowd sheathed their androgynous bodies mostly in black leather and velvet, with frilly white and black lace on several of the women. There were body piercings everywhere, belly rings, dog collars, black lipstick, and gobs of mascara on both the men and the women. Bloodred eyes stared from every direction. It was difficult to look away from them. A song called “Pistol Grip Pump” played from hidden speakers outside the house. Fangs were everywhere. And stage blood. A few of the women wore black or purple velvet bands around their necks, presumably to conceal bite marks. It got more interesting and eerie inside the house. People were addressing one another with titled names, Sir Nicholas, Mistress Anne, The Baroness, Prince William, Master Ormson. A statuesque woman walked by and brazenly sized up Jamilla. She was bronzed with body paint and wore a bronze-colored thong. The iron scent of blood mingled with smoky leather and pungent oil from wall torches. Jamilla looked ready; she was definitely tough. She had on a tight, sleek black dress with leather boots and black stockings. If she’d wanted to look sexy, she’d succeeded. She had purchased black lipstick and leather wristbands at a place called the Little Shop of Fantasy on Dumaine Street. She’d also helped me with my outfit: a morning coat that scraped the floor, cravat, black trousers, and black boots

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 1529.08 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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