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If You Must Know

  by Jamie Beck

(about 437 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:

were here. He’d know what to do.” There wouldn’t have been funds to lend if Dad were still alive, but I kept quiet. He’d been so careful planning for retirement and protecting Mom with those policy proceeds. He’d be heartsick that we had handed them over for a deal we knew so little about. All my life I’d followed rules and weighed my decisions precisely to avoid this kind of situation. The one time I acted like my sister, this was the result? I wouldn’t let this be the way our story ended. And I wouldn’t let Lyle ruin my mother’s future, either. I had no idea how I’d fix this, but I wouldn’t rest until I did. Kevin sighed, studying our mom. “I’m sorry I lost my temper. You’re right, it shouldn’t be a mistake to trust family. I’m cynical because of the stories I hear at work. Try to relax while we sort it out, okay? I promise I’ll do everything I can to get answers quickly.” “Okay.” I probably should’ve felt better about his apology than I did. Kevin strode over to hug me, speaking softly right in my ear. “Sorry my reaction made this harder. I didn’t mean to do that. I love you, sis. I only want what’s best for you.” “Thanks.” I eased away, having nothing more to say. Kevin hadn’t been all wrong. If Marcy hurt him, I’d be equally mistrustful of her. “I’ll call later with a name and number, and we’ll kicked off her shoes by the door. “I thought you were making spaghetti.” “I am.” “Don’t you just boil water and open a jar?” Her quizzical tone proved she wasn’t joking. Her disinterest in cooking puzzled me, yet she existed fine on granola cereal, canned soups, sandwiches, and eggs. Lucky for her Max hadn’t been particular about his diet. “I’m making a homemade ragù.” Meatballs slow cooked in the sauce, along with some pork ribs, hot sausage links, onion, and plenty of garlic. A go-to comfort food. As she made her way down the hallway, Erin grabbed her chest. “It smells so good. I love you!” That made me smile. With everything else going downhill, I soaked up any affirmation. “Hopefully, its taste will live up to your expectations.” Erin scrubbed one hand along the shorn side of her head. “Want me to clean lettuce?” I hesitated. There is a proper way to clean lettuce: first you chop it into small pieces, then rinse and dry it with the spinner and crisp it in a metal bowl with paper towels to absorb any remaining water. Keeping the lettuce crisp also requires making sure that diced cucumber, tomatoes, and onions are placed at the bottom of the bowl, beneath the cleaned lettuce, so the liquid in those veggies doesn’t make the lettuce soggy. Unfortunately, I’d seen Erin make a salad. She rips the lettuce in a haphazard fashion and leaves too much water on the leaves, then dumps everything on top

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 2185.30 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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