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Fortune and Glory

  by Janet Evanovich

(about 277 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:

minute. Do you see any bones sticking out like they’re broken? Do you see any blood?” “No.” “I can wiggle my toes in my shoes, so I’m not paralyzed. And look, I can move my fingers.” “Those are all good signs,” I said. “I have to go now. I’m meeting someone.” “What about my head?” he asked. “Did I hit my head?” “Yeah, lots of times. All the way down.” “I could have a concussion.” He stood and swayed back and forth. “Am I swaying?” he asked. “Yes.” “That’s good because I’m trying to sway.” I looked around. “Do you have a car here?” “No. I had my friend Morgan drop me off. I thought I’d be going in your car, being that I’m protecting you.” “Wrong.” “Here, look at this. I’m walking. And I’m talking. I was afraid I might black out. I did that once at the dentist office. And while I was out, I peed my pants.” “You aren’t going to do that now, are you?” “I don’t think so, but I might be a little dizzy. I’ll feel better when I get to your car and I can sit down.” I was doomed. I was never going to be rid of him. This is what happens when you try to be nice. You find out your ex-boyfriend has a new girlfriend and you get stuck with George Potts. “Get into the backseat,” I said. “I’ll drive you home.” “You can’t do that. I’m supposed to be cosmetic procedure.” Lula and I crossed the small yard, I rapped on Trotter’s front door, and a woman answered. Hard to tell her age. Somewhere between fifty and infinity. Her face was deeply lined and artificially tanned. Her lips looked like they might explode at any minute. A self-rolled joint was stuck between the lips. She was wearing flip-flops and a magenta tent dress that came to mid-calf. “Mrs. Trotter?” I asked. “Yep.” “I’m looking for Rodney. I’d like to speak to him.” “He’s in the kitchen having a late lunch.” The living room was dark and cluttered. Too much furniture. Stacks of newspapers. Giant box-store-size jars of snacks. Pretzel nuggets, dill pickles, Hershey miniatures, popcorn, Twizzlers, Cheetos, beef jerky. A gruesome collection of taxidermied animals. Squirrels, cats, foxes, skunks, a small pig, a weasel. “The snack jars I get,” Lula said, “but what’s with the creepy dead animals?” “Rodney says taxidermy relaxes him after a hard day of surgery,” the woman said. “It’s his hobby.” The kitchen was just as cluttered as the living room. Boxes of cereal were stacked on the counters beside jugs of vinegar, family-size jars of peanut butter, badly stuffed rodents with their teeth bared, loaves of bread, and bags of cookies. A thin man with balding black hair and excessively bloodshot eyes was at the kitchen table. He was wearing a tight silky black shirt, and he was drinking Jose Cuervo tequila without benefit of a glass or straw. “Hey, sweetie,” he said, eyeing

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 1384.16 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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