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The Gryphon Heist

  by James R. Hannibal

(about 389 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:

you blocked his number. He doesn’t understand why you’re so mad.” There it was. Had Bill sent Jenni to force a meeting? “Yes. He does.” He hadn’t been the worst of Talia’s foster fathers—far from it. Most foster kids would say she’d hit the jackpot. Bill had treated her with respect, even love. And he had worked from home, so he had been there for Talia—a lot and in the best ways. Right up until the day he wasn’t. “He didn’t come, Jenni. The one day in six years I really needed him, he didn’t come.” “This is about nationals?” The boat dipped way left as Jenni dug in with her oar. “Dad had to travel for work. You’re looking for an excuse to be angry. Can’t you see that?” “He didn’t have to work. He wanted to. And he never told me he was going. He just… wasn’t there. Bill shouldn’t have tried to be my dad if he never planned on following through.” The moment he had come home, Talia and Bill had a knock-down, drag-out, fight—and not only about nationals. His absence there had been a symptom of a much larger issue. After six years, a lot of foster kids with a lot less attentive caregivers would have been adopted. He had made excuses. She had moved out the next morning. She hadn’t spoken to him since. “He made it to our graduation a week later.” Jenni had missed the fight, and she was the kitchen, drizzling maple syrup over a pan of bacon, wearing a tweed waistcoat and slacks and an apron with lips on it that said Kiss the cook. “Tyler gave you that apron, didn’t he?” Conrad pulled the bacon off the stove and slid the strips out of the pan onto a clay platter. He shot a look at Tyler, who was seated at the counter, already working on an egg white omelet. “You see? No one believes I would wear this voluntarily.” He pulled out a stool for Talia. “I only put it on because the man who bought it writes my paychecks.” The heated buffet on the counter held a spread from Talia’s innermost culinary desireswaffles, maple bacon, scrambled eggs with a sprinkling of Swiss cheese. A silver carafe of coffee at the end was surrounded by cream, brown sugar, nutmeg, and white chocolate shavings. Talia had outrun the famous freshman fifteen well past her senior year. But if she stayed in that chateau too long, those pounds would finally catch up. She ignored the warnings in her head and dropped two spoonfuls of shavings into a mug. “Where’s Eddie? The smell of bacon alone should have brought him down.” “He isn’t coming.” Tyler set his fork down, omelet finished. “He asked if you’d bring him a tray.” Talia’s spoon hovered over her coffee. “Eddie wants me to bring him breakfast in bed?” “Not to his bedroom.” Conrad took the liberty of sliding a pair of waffles

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 1946.18 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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