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Good Faith

  by Jane Smiley

(about 613 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:

are you going to grow there? I don’t think you have a leg to stand on, Hank. You can’t say it’s wild, you can’t say it’s highly productive, you can’t say it’s likely to be a state park or anything like that, because there’s a state park only ten miles away. Jacob Thorpe is dead, the Thorpes are finished with the property and the area, and it’s time it was put to another good use.” “The support network that would go into building and keeping up four to six hundred houses, a club, and the necessary shopping areas would be more than that end of the county could tolerate. The roads would have to be widened, there would be waste-management stress, and it has no purpose. It doesn’t grow out of the local economy, and it doesn’t make sense for the area as a whole. It’s arbitrary.” He rested his forearms on the tablepugnaciously, I thought—sat up straight, and looked right into my face. “It’s not arbitrary. It’s where the land is. What would you do with the property?” “Thorpe should have left it to his children. The daughter, at least, was eager to have it.” “A, he didn’t, and B, that’s what she says now, but why didn’t she persuade him at the time?” “He didn’t like her husband, is what I heard. I think it’s a tragedy. The whole issue could have just lain dormant for another generation, and that end of the county would have menu. I appreciated how seriously she looked at it—not like a person who was hungry but like a person who meant to enjoy herself. The food was Italian, but not the usual sort of Italian you found in our neighborhood, just pasta and plenty of red sauce and sausage. “I love risotto,” she said. “I thought I would order the saffron risotto with truffles and slivers of fennel, and maybe the salad of greens with olive oil and balsamic vinegar.” “I eat Italian all the time, and I’ve never heard of half of those things.” “I make risotto. And gnocchi. I much prefer them to pasta.” “What do you recommend?” She looked the menu up and down. “I would try the bruschetta.” That was pieces of toast with chopped tomatoes on top. “Then the crab tortelloni with the light chanterelle sauce. There’s only three of those, they should be nice. And then, are you hungry?” I nodded, but really I was horny. She went on. “Hmm. I would have a bite if you tried the chicken, prosciutto, and spinach roulade. I don’t think the chef would put that on the menu if he didn’t enjoy making it. It’s rather delicate.” “Have you made that too?” “Something like it, but I like to use chard. It has a brighter flavor, if you’re careful not to cook it too long.” “I’ll have all those things.” She smiled and fingered one of the pale tendrils of hair that curled around her ear

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 3064.58 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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