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Flagstaff Station

  by John Ellsworth


(about 289 pages)
72,284
total words
of all the books in our library
41.87%
vividness
of all the books in our library
7.79%
passive voice
of all the books in our library
2.55%
all adverbs
of all the books in our library
0.63%
ly-adverbs
of all the books in our library
1.92%
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
and our ways are incongruous. So, I’m afraid that won’t happen.” “Let me ask you this, Ms. Begay. Will there be a hearing on his placement in tribal court?” “Yes. The hearing is done in secret, but you can always join in the action as an interested party since you’ve defended his mother. I’m sure Judge Katahama would allow that. We’re very friendly in our court system; we just won’t let you take one of our kids. But come over and find that out firsthand, if you must. Is there anything else?” “Do you have a court date and time?” “I do. Tuba City, this Friday, nine a. m.” “Oh, the Sixth Circuit.” “Well played, Mr. Murfee. Most Anglos have no clue about our courts.” “I’ve been to your courts once or twice. This Friday I’ll be there again. Would you please tell Nathan I’ll do my best for him?” “I’ll tell him you’re doing what you think is best for him.” “Can’t ask for more than that. Thanks for your call, Ms. Begay.” “Goodbye now.” Thaddeus ended the call and set aside his phone. “That boy is old enough to decide where he wants to be,” he said to Christine, who was seated across his desk from him. He’d had the phone on speaker. She hadn’t missed a word. “You be the interested party, Thaddeus. I’ll be your lawyer since I’m admitted to the tribal court.” “Works for me. Now let’s get lunch.” “You’re on. By the way, did the door, Turquoise opened her compact and checked her lipstick—she tasted the waxy stuff on her tongue. She was darkly tanned from her days at the beach playing volleyball, where she played on the front line because she was tall: five-nine. Her ankles and legs weren’t the thin, delicate legs of a ballet dancer. Her legs were stout and muscled and were capable of kicking-in hotel room doors—which they’d done more than once while Turquoise was working Vice. Darrell Howard, her sometimes-partner, hadn’t arrived when Turquoise went to make hot tea. Howard was not only her long-time partner, but he was also her off-hours best friend. Turquoise lived two blocks from the beach; he lived clear across the Valley in his ex-wife’s duplex where he’d been invited to live and help her share expenses. Getting together was difficult but always worth it as they crawled bars, watched the Dodgers, savored the food at In-N-Out Burger and all the stuff you do when you’re young and have a headful of streetwise and a belly full of craft beer. Turquoise had just poured hot water into her mug from her desktop hotplate and dunked her first Lipton tea bag when Howard came up behind and playfully clapped his cupped hands against her ears. “Motherf—” she caught herself. “My ears are ringing, turd-head!” She brought her fists down on the wood table she and Howard shared as a desk. Everything jumped. “I just wanted to see if you were awake. Heard

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 1445.68 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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