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Winter Garden

  by Kristin Hannah

(about 480 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:

and only about work or the kids. She tried idly to remember the last time they’d made love, and couldn’t. Maybe that was normal. Certainly it was. When you’d been married as long as they had, there were bound to be quiet times. Still, it saddened her sometimes to remember how passionate they used to be. She’d been fourteen on their first date (they’d gone to see Young Frankenstein; it was still one of their favorites), and to be honest, that was the last time she’d ever really looked at another guy. It was strange when she thought about that now; she didn’t consider herself a romantic woman, but she’d fallen in love practically at first sight. He’d been a part of her for as long as she could remember. They’d married early—too early, really—and she’d followed him to college in Seattle, working nights and weekends in smoky bars to pay tuition. She’d been happy in their cramped, tiny U District apartment. Then, when they were seniors, she’d gotten pregnant. It had terrified her at first. She’d worried that she was like her mother, and that parenthood wouldn’t be a good thing. But she discovered, to her profound relief, that she was the complete opposite of her own mother. Perhaps her youth had helped in that. God knew Mom had not been young when Meredith was born. Jeff shook his head. It was a minute gesture, barely even a movement, but she saw it. She had always been past six. In the last bit of copper-colored evening light, the apple blossoms glowed with a beautiful opalescence that gave the valley an otherworldly look. The kitchen was empty except for the carefully stacked and labeled cardboard boxes that were tucked neatly into the space between the pantry and fridge. She glanced out the window and saw that her sister’s car was still here. Meredith must be in another room, knee-deep in boxes and newsprint. Nina opened the freezer and burrowed through the endless rows of containers. Meatball soup, chicken stew with dumplings, pierogies, lamb and vegetable moussaka, pork chops braised in apple wine, potato pancakes, red pepper paprikash, chicken Kiev, stroganoff, strudels, hamand-cheese rolls, homemade noodles, and dozens of savory breads. Out in the garage, there was another freezer, equally full, and the basement pantry was chock-full of home-canned fruit and vegetables. Nina chose one of her favorites: a delicious slow-cooked beef pot roast stuffed with bacon and horseradish. She defrosted the roast in the microwave, with all the root vegetables and rich beef broth, then ladled it to a baking dish and put it in the oven. She set the oven for 350 degrees, figuring it couldn’t be too far wrong, and then filled a pot of water for homemade noodles. There were few things on the planet better than her mom’s noodles. While dinner was in the oven, she set the table for two and then poured herself a glass of wine. With this meal, the aroma

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 2400.54 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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