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  by Jessica Aiken-Hall

(about 299 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:

see his reaction. “This is strange, isn’t it? I mean, do you think she took this much? That’s a lot, right?” “I think it’s bizarre. That is a lot. It looks like she tried to overdose, but how would she have been able to cut her wrists like she did? It just doesn’t add up. Why would she want to cause physical pain when she could have just taken the pills?” “That doesn’t make sense. I mean, why would she do both? Do you think someone did this to her? Is that what you’re thinking?” “I don’t know. If we had these results before the case was closed, I don’t think it would have closed so quickly. I think there’s a case here, but what can we do now? There’s nobody to examine now. There is no evidence. No case.” “So, someone gets away with murder? Carmen gets thrown away… and the baby…” I stopped as I thought about two lives that were stolen. “Their lives didn’t matter?” “Of course, they mattered. They matter. It’s just not going to be easy to charge anyone with murder when we don’t have proof.” “What if someone confesses? Then would they get in trouble? Would they have to pay for what they did?” “Well, that’s still tricky. They might, but there is also a chance they might not. It’s hard to say what would happen. And, how would they get a confession?” “I don’t know. I just don’t want to think that it’s deep brown eyes was brighter than the bouquet he was holding. Pink, red, and white roses in a ceramic blue vase. An unfamiliar, warm sensation flooded me as he handed the flowers to me. “What do you think this will get you?” “I was hoping for an invitation in.” He ruffled up his hair as his eyes darted to his feet. “Of course, come on in. I’m just messing with you, you know that, right?” Nervous laughter spilled out. “I never know with you, Val.” “Thanks for the flowers.” I stuck my nose in the bouquet and inhaled the delightful fragrance. “They’re beautiful. It’s been ages since anyone did something like this for me.” I set the vase down on the center of my kitchen table and pushed my hands into my back pockets. “You wanna see if your show is on?” “Can I get a hug first? I mean, it’s the least you can do for those beautiful flowers.” He walked over to me and held his arms out. “I knew there had to be a price.” I knocked down my wall and let him embrace me. As my head rested against his chest, I closed my eyes and inhaled his masculine scent. “What are you wearing?” “Clothes, Val.” “Ha-ha, smartass. I mean, what is that smell?” “You like? It’s the old standby, Gravity.” “Yeah, I like. It mixes well with the smell of your skin.” “Whoa. I feel violated.” A smirk pushed up his cheeks. My face blushed

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 1492.86 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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