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The Helpline

  by Katherine Collette

(about 342 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:

the summing. ‘So who is my father?’ ‘Sperm donor. Don’t know much about him, to be honest.’ ‘Don’t know… He could be anyone?’ My father was an unknown variable. And I was… I wasn’t sure what I was. Right now I was aghast. ‘What is wrong with you?’ I said. ‘My therapist says—’ ‘You’re the monster. You are.’ ‘I won’t do it again.’ Sharon didn’t look at all contrite. ‘I don’t know why you’re so upset. You’re a bit old to have daddy issues.’ I realised there were noises coming out of my mouth. It was opening and closing; I felt like the rescue guppies in the bath. IF (Germaine [did not] = [descent of] John Douglas), then what did Germaine = ? I felt… I had no idea what I felt. ‘Germaine?’ said Sharon in a small voice. ‘What.’ ‘You’re not a monster. You’re just a bit unusual. Which is good. I wouldn’t want you to be the same as everyone else.’ ‘Okay.’ ‘I mean it.’ ‘Sure.’ I drove home, a quiet drive through quiet streets. Numb. There was no Douglas in me. No Douglas, none at all. Who was I? Everything had changed and nothing had. I felt like the mediaeval people must have felt, living their whole lives thinking the world was flat and then being told it wasn’t. It must have been hard to accept the idea, even when the proof was explained. How could I not be the scion of John Douglas? What about our similarities? He was a large tree. Jack told me to wait and opened up his basket. Inside was a picnic rug, which he unfolded and laid flat on the grass. Then he got out two food containers, fogged with steam, and a large bottle of orange juice—Ha, I thought to myself. I hate orange juice. I couldn’t wait to tell him. But by the time he’d put out two cloth napkins, folded in the shape of paper planes, two chequered plastic cups, two chequered plastic plates and knives and forks with chequered plastic handles, I found I didn’t feel like saying it. Jack stood up. ‘What do you think?’ I shrugged. ‘It’s okay. I prefer chairs to sitting on the ground.’ Jack ignored this. ‘Please,’ he said, gesturing. I sat on the lower right-hand quartile of the rug and Jack sat on the upper left. He clicked the lid off a food container and put it on my plate. It was lasagna, store bought, like from a café. ‘I couldn’t get anything with tuna and tomato,’ he said. ‘That’s okay. I had enough yesterday.’ Actually, if anyone had enough of the tuna-tomato-pasta combination yesterday, it was Jack. When we’d started eating it I’d admitted, largely in fear of salmonella—the tuna was a funny colour—that the pasta was a little hard and maybe even rubbery but Jack insisted he didn’t mind. ‘It’s nice to be cooked for,’ he said, and finished every piece. Marie mustn’t have been very good at cooking

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 1709.28 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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other books by Katherine Collette

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