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Girl, Under Oath

  by John Ellsworth


(about 326 pages)
81,513
total words
of all the books in our library
27.97%
vividness
of all the books in our library
9.14%
passive voice
of all the books in our library
3.04%
all adverbs
of all the books in our library
0.74%
ly-adverbs
of all the books in our library
2.30%
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
he was dying. It’s not like I poisoned him beforehand because I had known beforehand. Nothing like that. So they’re really barking up the wrong tree. I’m as innocent as the new-fallen snow. I hope we can get that across to them somehow and you can make them go away and leave me alone. Will that be possible, Michael?” “I’ll do everything I can to make it go away. I can’t promise anything, but sometimes the detectives can be reasoned with, especially where there isn’t a strong case. I don’t believe they have a strong case against you unless they find some kind of poison in your medicine cabinet, which I assume they are not going to find. Am I correct?” “You are absolutely correct. I would never be stupid enough to keep some kind of poison around my house.” “Is there anything else you’re not telling me?” “Not telling you? Not telling you like what? Like I killed Joe? Do you think that I did?” “Jennifer, I don’t have opinions one way or the other, and it doesn’t matter what I think. My job is to defend you, regardless of what happened. And that’s exactly what I’m going to do.” “Well, you’re going to be defending an innocent person. I can assure you I had nothing to do with Joe’s death. Now that I know he was married to another woman, I’m not sure I wouldn’t have poisoned him if I had it to do over again. But that’s the true story about how this vase wound up on the auction block in London and made its way to my office in the medical building. When I was a small child, I spent my summers and holidays at my grandma’s house downstate. She lived on a farm with her husband and four boys. Like all farmers, my grandpa and his four boys were always ravenous. Grandpa kept six dairy cows on the farm just for his family. Milk was plentiful and free. All you had to do was squeeze the teats, skim the cream, take it in the house, and put it in the refrigerator, which is where the Qing vase comes in. The first time I remember seeing the vase was in my grandma’s refrigerator. It was filled with cowsmilk. It was filled and refilled every day with milk fresh out of the cows in the barn. The men preferred drinking the milk straight out of the vase. The top was fluted, the neck perhaps four inches long, and then it spread into a vase approximately 14 inches high. It held exactly one gallon of milk. Embossed on the vase’s front was the Emperor’s seal, a gold circle filled with the blue sea and two goldfish swimming in the sea. The entire bottom two-thirds of the vase looked like a basket weave. Above that, the vase was yellow and covered with blue branches and red and white flowers. All in all, it wasn’t a particularly attractive antique

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 1630.26 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 John Ellsworth

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