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Angel Falls

  by Kristin Hannah

(about 328 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 day Bret had been born and they’d put him in Liam’s arms, and Mike had whispered softly that life was good. The day he’d asked her to marry him … That was the one that hurt. It had been the year Batman exploded across theater multiplexes and the Exxon Valdez crashed in Prince William Sound. They’d been at Angel Falls, stretched out on a blanket beside a still, green pool of water. There had been tears in her eyes when she told him she was pregnant. He had known to tread carefully. It had been difficult, when all he wanted to do was throw back his head and laugh with joy, but he’d touched her cheek and asked her quietly to marry him. I’ve been married before, she’d answered, a single tear sliding down her pink cheek. Okay. That’s what he’d said, all he’d said. It’s important. He’d known that, of course. I loved him with all my heart and soul, she’d said. I’m afraid I’ll love him until I die. I see. But he’d known that she was the one who could see. She’d known she was breaking his heart. She turned and knelt beside him. There are things I can’t tell you … ever. Things I won’t talk about. “I didn’t care about all that, did I, Mike? I was forty years old and I’d seen things no human being should ever see. “Until I met you, I had given up on love, did you know that? I had flagstone path. Bushy green trees in huge terra-cotta pots flanked the way, releasing—even at this dozing season of the year—a soft, citrusy scent. Spotlights cast golden, latticed shadows along the path. A riot of late-blooming pink bougainvillea arched above the front entrance. A dozen Japanese-style ceramic lanterns lit the path. The door opened and Julian’s housekeeper, Teresa, stood in the doorway. As always, her uniform was as starched and white as a brand-new sail, and not a single gray hair was out of place. “Buenos noches, Señor True. How did the movie go?” Julian was too distracted to smile. “Another hit.” Frowning, he moved past Teresa into the cool, airy house. It was a place of sharp contrastswhite stucco walls and dark walnut trim, white denim-covered, oversized chairs and dark, heavily carved wooden tables. The floor throughout was tile, huge terra-cotta squares and rectangles that forgave any spill. In the spotless kitchen, he poured two shots of tequila into a Waterford tumbler and downed it, without bothering to reach for salt or a lime. Tucking the bottle under his arm, he began his search. Somewhere in this house there had to be a picture of Kayla. He went from room to room, lifting every photograph, until he found what he was looking for. There, tucked in the back of the music room, on a bookshelf too high to reach, he found a framed picture of her. He dropped slowly to his knees on the thick Aubusson carpet

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 1638.74 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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