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On Mystic Lake

  by Kristin Hannah


(about 425 pages)
106,364
total words
of all the books in our library
60.97%
vividness
of all the books in our library
7.88%
passive voice
of all the books in our library
2.93%
all adverbs
of all the books in our library
1.12%
ly-adverbs
of all the books in our library
1.81%
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
Blake would take care of her? If she were a different kind of woman, Annie might feel angry right now, but as it was, all she felt was the vague residue of sadness. Her father was from another generation, and he’d done the best he could with his only child. If his wife had lived, everything would have been different… But she hadn’t, and with her death, Hank had been thrown into a role he couldn’t handle. All he knew of womanhood came from his own mother, a tired, washed-out woman who died at forty-seven, driven to an early grave by hard work. Like his father, Hank had grown up in Mystic, and never seen much of the world beyond. He’d thought the best he could do for Annie was to get her educated, so that she could find a husband who could give her a better life than the one to which she’d been raised. Unfortunately, Annie had followed his lead. She’d gone all the way to Stanford—where the world had been open to her if only she’d known where to look—and she’d kept her gaze on the straight and narrow. She’d asked too little of herself… and gotten exactly what she’d sought. It was funny how that worked in life. It wasn’t her father’s fault, any more than it was Blake’s or Annie’s fault. It simply was. She was lucky to have seen the truth at all, she supposed. If not for Blake, she would have the evidence of logging: trucks, chainsaws, and signs about the spotted owl. The road began its slow, winding crawl up the hillside, thrusting deeper and deeper into the forests. One by one, the houses receded, giving way to trees. Miles and miles of scrawny, new-growth trees huddled behind signs that read: CLEARCUT 1992. REPLANTED 1993. There was a new sign every quarter mile or so; only the dates were different. Finally, she reached the turnoff to the gravel road that meandered through fifteen acres of old-growth timber. As a child, this woodland had been her playground. She had spent countless hours climbing through the dewy salal bushes and over crumbling nurse logs, in search of treasures: a white mushroom that grew only by the light of a red moon, a newborn fawn awaiting its mother’s return, a gelatinous cache of frog’s eggs hidden in the bogs. At last, she came to the two-story clapboard farmhouse in which she’d grown up. It looked exactly as she remembered: a gabled, fifty-year-old structure painted a pale pearl gray with white trim. A whitewashed porch ringed the whole house, and baskets of winter-spindly geraniums hung from every post. Smoke spiraled up from the brick chimney and merged into the low-slung layer of gray fog overhead. Behind it, a battalion of ancient trees protected a secret, fern-lined pond. Moss furred the tree trunks and hung in lacy shawls from one branch to another. The lawn melted down toward the silvery ribbon of a salmon stream

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 2127.28 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 Kristin Hannah

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