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The Visiting Privilege

  by Joy Williams

(about 716 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:

wasn’t breathing. Ha! It was best when I was working on it, that’s when it really existed, but when I stopped… uhhh,” he said. “I’ve done as much as I can. I’ve reached my oubliette. Do you know what I’m saying?” “I do,” Miriam said. “Oh,” he said, “I’m crazy about the word oubliette. That word says it all.” “It’s true,” she said. “You’re perfect,” he said. “I want to retire, and I want you to take my place.” “I couldn’t possibly,” Miriam said. “No stuffing would be required. I’ve done all that, we’re beyond that. You’d just be answering questions.” “I don’t know anything about questions,” Miriam said. “The only thing you have to know is that you can answer them any way you want. The questions are pretty much the same, so you’ll go nuts if you don’t change the answers.” “I’ll think about it,” Miriam said. But actually she was thinking about the lamp. The odd thing was she had never been in love with an animal. She had just skipped that cross-species eroticism and gone right beyond it to altered parts. There was something wrong with that, she thought. It was so hopeless. Well, love was hopeless… “I have certain responsibilities,” Miriam said. “I have a lamp.” “That’s a wonderful touch!” the taxidermist said. “And when things are slow you’ll have all the animals too. There are over a thousand of them here, you know, and some of them are pretty darn rare. I think you’ll the table and gives her a little more milk, a half jar of strained chicken and a few spoonfuls of dessert, usually cobbler, buckle or pudding. The baby enjoys all equally. She is good. She eats rapidly and neatly. Sometimes she grasps the spoon, turns it around and thrusts the wrong end into her mouth. Of course there is nothing that cannot be done incorrectly. Jones adores the baby. He sniffs her warm head. Her birth is a deep error, an abstraction. Born in wedlock but out of love. He puts her in the playpen and tends to the dog. He fills one dish with water and another with kibbled biscuit. The dog eats with great civility. He eats a little kibble and then takes some water, then kibble, then water. When the dog has finished, the dishes are as clean as though they’d been washed. Jones now thinks about his own dinner. He opens the refrigerator. The ladies of the church have brought brownies, venison, cheese and applesauce. There are turkey pies, pork chops, steak, haddock and sausage patties. A brilliant light exposes all this food. There is so much of it. It must be used. A crust has formed around the punctures in a can of Pet. There is a clear bag of chicken livers stapled shut. Jones stares unhappily at the beads of moisture on cartons and bottles, at the pearls of fat on the cold cooked stew. He sits down. The room is full of lamps

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 3580.64 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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