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Duplicate Keys

  by Jane Smiley


(about 396 pages)
99,117
total words
of all the books in our library
45.28%
vividness
of all the books in our library
9.12%
passive voice
of all the books in our library
3.64%
all adverbs
of all the books in our library
1.35%
ly-adverbs
of all the books in our library
2.29%
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
by, but she said she couldn’t make it until after dinner.” “I couldn’t see him. I couldn’t even see Honey.” “I’ll make a hollandaise for this.” “Do you think he did it?” “No.” Alice began to be afraid again. “I’ve been terribly depressed all afternoon.” She raised her voice slightly at the end, to encourage Susan to confide the same thing. All Susan said wasReally?” “Haven’t you?” “Should I be?” “Our friend has been arrested!” “Honestly, that doesn’t depress me. It’s irrelevant. He’ll be out sooner or later. Honey obviously doesn’t know what he’s doing, which rather depresses me, but Noah I’m not worried about. He’s been crazy lately. Something concrete, some kind of action from outside will perk him up. People are always happy when they’re actually being victimized.” “But what if he did it?” “Impossible.” “Rya doesn’t think so.” “Rya has always attributed a lot of force to Noah’s character that just isn’t there. Here, wash these.” She handed Alice a package of chicken breasts. Alice tore off the wrappings. “He would never have the self-assurance, especially to face down Craig.” She began rolling the washed breasts in flour. Alice’s head was throbbing with pain. She sat down. Susan went on. “I’ve figured out a lot of things.” “What?” “I’ve figured out why they never got big.” “What does that have to do with anything?” “Well, I’m convinced that if they’d ever gotten as successful as Craig wanted to get, they would never have been killed. I’ve they strolled down Fifth Avenue, looking at store windows. There were high-heeled sandals in alligator-patterned leather, a narrow strap with a tiny gold buckle to set off the bone and tendon of a slender ankle. Chocolates shaped like flowers, spilling from gold boxes. Tablecloths scattered with embroidered violets and appliquéd roses. Cuffed cotton shorts and crisp shirts bearing vivid palm leaves and the faces of tigers and monkeys. Hardbound books with jackets as bizarre and hip as the pictures on record albums. Tight white skirts slit up the front or the back. “I don’t think we’re with it any more,” laughed Susan. They examined their hair and faces in the glittering clean windows. “I went off to college with a whole new wardrobe,” said Alice. “Six square wool dresses with short sleeves, one of which was purple with green vertical bands—” “I remember that one.” “Two pair of hip-hugging woolen slacks, one gold and one red white and blue plaid, with those funny belts that were longer around the bottom edge than they were around the top edge—” “Ugh.” “Wait, get this, and a sleeveless wool sweater, also gold, with something in green and blue embroidered in wool across the top. Sleeveless! Hip length—” “Just long enough to cover the belt.” “Yards of beads.” “I had those apple seeds strung on a string. I could wind them around my neck six times and still get them off over my head. I thought they were the choicest jewels I’d ever seen

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 1982.34 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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