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  by Joyce Carol Oates

(about 1,003 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:

might be diverted, they might think it was exciting, picking fruit. The workers aren’t on strike yet. I don’t think they will strike. “Sam” says—if I can imitate the little bastard’s accent—“Sam” says they don’t want to strike, striking is like war, it’s a desperate measure—it’s only resorted to when negotiations fail. Meanwhile the fruit is ripening. It’s beginning to rot. It isn’t beginning to rot! It’s almost beginning to rot. Won’t they starve, if they don’t start work and aren’t fed? They brought along their own food. In cans and boxes. But that won’t last. They’re prepared for a wait. They prepared for this, coming up here. Sam prepared them. In the old days there wouldn’t be any problem… They killed what-was-his-name, Barker. Of course they killed him. Somewhere along the road. This new one, Sam, must have killed him. We don’t know that he’s actually dead… With Barker, there was never any trouble. He was reasonable, he knew his way around. If they killed him Ewan should arrest them. He should start an investigation. It isn’t in his jurisdiction, is it. Another state. If he arrested Sam and took him away, we could deal with the rest of them ourselves. Hiram could assemble them and make a speech… I don’t know, Hiram said uneasily, that I would exactly want to do that. Because, after all, Sam isn’t the only one. He’s the leader. They’ve elected him. There are those two or three others, I don’t GARDEN, THE walled garden. A sunny hazy jumble of kisses and warm embraces, scoldings, vermilion flowers, yellow and white butterflies, maple seeds flying in the heat of May. A rich blue sky in which giant faces hovered. Isn’t she a beautiful baby! Isn’t she big! Intoxicating odors: bananas and cream, raspberry jam, chocolate cake, lemon squeezed into tea. Honey-and-milk, greedily sucked. Something mashed on a spoon. The spoon’s metallic taste, and its hardness. A sudden rage, like an explosion: kicking, shrieking, the food thrown away. Doesn’t she have a mind of her own, Leah laughed, wiping the hem of her dress with a napkin. The walled garden, those warm spring days. Weather-stained remains of statuary imported from Italy by great-great-grandfather Raphael: a startled and chagrined Hebe, the size of a mortal woman, her hooded eyes downcast and her slender arms weakly shielding her body; a crouching marble Cupid with bulging eyes and a sweet leering smile and wings whose curly feathers had been fashioned, with great care, by an anonymous sculptor enamored of detail; a comely Adonis whose right cheek was discolored, as if by inky tears, and whose base was overgrown with briars. And of course the baby stumbled into the briars, despite Leah’s sharp eye. And of course there were heart-stopping wails heard everywhere, so that several of the children, playing by the lake, ran back to see who was being murdered. The walled garden where Leah contemplated her maps, drinking coffee for hours, nibbling at pastries, rocking

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 5015.98 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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