this is a SHAXPIR project
how does it work?

Out of the Corner

  by Jennifer Grey


(about 420 pages)
104,924
total words
of all the books in our library
47.76%
vividness
of all the books in our library
8.17%
passive voice
of all the books in our library
3.22%
all adverbs
of all the books in our library
1.39%
ly-adverbs
of all the books in our library
1.83%
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
this sensation was one of the best or one of the worst feelings I’d ever experienced. But I had been here before, a year ago. I just never expected to be here again. When the nurse had finished cleaning me up, she cheerfully handed me a mirror. “Looks great. The doctor will be with you shortly.” I almost didn’t know what I was looking at. I couldn’t make sense of what I was seeing. As my adrenaline was cresting, I was sliding down a slo-mo well of calm. I knew something bad had happened. I just didn’t know what it was. Pamela was there, sitting on the extra chair intended for the patient’s plus-one, a few feet away. Was she seeing what I was seeing? What was it I was looking at? Something odd. Distorted. The way the nose was oriented on my face was all wrong. Twin unfamiliar holes staring back at me. Are those my nostrils? This nose looked truncated or dwarfed. Something about the proportion was off. The placement. I wasn’t expecting this. I’d had invested so much in it not being what it was now. It was like I was on mushrooms, having a bad hallucinogenic trip. In the distance I could faintly make out Pamela’s sweet voice trying to reassure me. “It’s okay. Your doctor will be here any minute. Just wait.” She was trying to do what a good friend does, which was to stay calm. The doctor came in. He couldn’t have been heartachingly happy and mouthwatering memories of my mom and dad’s late-night snack ritual, too. My mom would be in one of her simple yet elegant long cotton Dior nightgowns and white ballet slippers with an open robe that fluttered behind her as she walked down the hall. My dad would come home from the theater, the back of his hair a little greasy from the Albolene. He’d be tired yet wired—as it’s hard to come down after all that energy created and expended on stage—and hungry, because you can’t eat much before a performance. My mom would unpack every tasty morsel from the fridge. They’d smear the good, smelly triple-crème cheeses from Zabar’s on crackers. They’d cut the hard salami, bite by bite, with a sharp paring knife on a small cutting board, slice a pear, pick at leftover cold chicken, or heat up some weisswurst with spicy mustard. My dad would grab a cold Heineken, my mom would finish off the remnants of the bottle of white wine from the fridge, or if in the mood, they’d pour tumblers from frosty bottles of vodka or aquavit stowed in the freezer. Sometimes there would be little ramekins of chocolate pudding, or red Jell-O covered with taut plastic wrap, to conclude the savory kitchen picnic. When I’d hear them in the kitchen, I’d either force myself awake or pretend I’d been sleeping and would come in, rubbing my eyes, hoping they wouldn’t send me back to bed. They’d smile

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 2098.48 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.

similar books by different authors

other books by Jennifer Grey

something missing?

Our library is always growing, so check back often…

If you’re an author or a publisher,
contact us at submissions@prosecraft.io to help grow the library.