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Still Me

  by Jojo Moyes


(about 560 pages)
140,108
total words
of all the books in our library
47.61%
vividness
of all the books in our library
8.16%
passive voice
of all the books in our library
3.62%
all adverbs
of all the books in our library
1.47%
ly-adverbs
of all the books in our library
2.15%
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
how can you not know whose it is?” “I don’t know! But—but it’s not mine! I haven’t had sex with anyone else!” I realized as I was protesting that the mere act of insisting you hadn’t had sex with someone else made you sound like you were trying to hide the fact that you had had sex with someone else. “I know how it looks but I have no idea why that thing is in my bathroom!” “Is this why you’re always on at me about Katie? Because you’re actually feeling guilty about seeing someone else? What is it they call it? Transference? Isis that why you were soso different the other night?” The air disappeared from the room. I felt as if I’d been slapped. I stared at him. “You really think that? After everything we’ve been through?” He didn’t say anything. “You—you really think I’d cheat on you?” He was pale, as shocked as I felt. “I just think if it looks like a duck and it quacks like a duck, then, you know, it’s usually a duck.” “I am not a bloody duck… Sam. Sam.” He turned his head reluctantly. “I wouldn’t cheat on you. It’s not mine. You have to believe me.” His eyes scanned my face. “I don’t know how many times I can say it. It’s not mine.” “We’ve been together such a short time. And so much of it has been spent apart. I don’t…” “You don’t what?” “It’s was filled, three and a half walls of it, with clothes neatly stacked on racks, hanging in plastic from cushioned hangers. The dressing room was a riot of color and fabric, punctuated above and below by shelves with piles of handbags, boxed hats, and matching shoes. I walked slowly around the perimeter, running my fingertips along the materials, pausing occasionally to tug gently at a sleeve or push back a hanger to see each outfit better. And it wasn’t just these two rooms. As the little pug trotted suspiciously after me, I walked through two of the other bedrooms and found more—row upon row of dresses, trouser suits, coats, and boas, in long, air-conditioned cupboards. There were labels from Givenchy, Biba, Harrods, and Macy’s, shoes from Saks Fifth Avenue and Chanel. There were labels I had never heardFrench, Italian, even Russianclothes from multiple eras: neat little Kennedy-esque boxy suits, flowing kaftans, sharp-shouldered jackets. I peered into boxes and found pillbox hats and turbans, huge jade-framed sunglasses and delicate strings of pearls. They were not arranged in any particular order so I simply dived in, pulling things out at random, unfolding tissue paper, feeling the cloth, the weight, the musty scent of old perfume, lifting them out to admire cut and pattern. On what wall space was still visible above the shelves I could just make out framed clothes designs, magazine covers from the fifties and sixties with beaming, angular models in psychedelic shift dresses, or impossibly trim

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 2802.16 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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