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The Diary of a Serial Killer’s Daughter

  by L. A. Detwiler

(about 301 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:

him I could do better if he would just let me help. Dropped rags. Missed splotches of blood in the wheelbarrow. Stupid, reckless mistakes. He’s getting too comfortable. I’m terrified, Diary. I’m terrified he’s going to get caught any day now. And then what? It would have all been for nothing. He can’t protect me when he’s locked up, after all. The sad truth is that if Daddy goes away, there will be no one to write my obituary when I die. There will be no one to love me. No one. Not even Aaron—there’s no way he’d stick around if he found out what Daddy did. Would he? No love is that deep, no love other than Daddy’s love for me. Look what he’s done for me over the years. Look at the lengths he’s gone to for me. Without Daddy, it will all fall apart. I’ll be lonely, on-the-fringes Ruby all the time. Sure, there’s Grandma—but that’s no comfort. I might tie my own noose if I’m stuck living with her and her stale cookies, kale, and scratchy sweaters. I can’t even imagine what she’d say if she found out about Daddy. Life would be a constant yammering about repentance and sin and death. In short, that would be no life at all. No life worth living at least. Is that what drove Mama to it, if she did kill herself? Did she finally feel like it wasn’t worth it? I can understand that. I can jolted as I watched. She had blonde hair. It was pulled back into a messy ponytail. Or maybe the ponytail just got messy from Daddy. She wore a tight, super short metallic dress. It was shining, an olive green color with a fish-scale like texture. It was so short I was sure her private bits were about ready to spill out. Duct tape covered her mouth, the silvery texture a nice accessory to her dress, to her smoked eyeshadow. But her blue eyes told a different story. Her blue eyes were ravaged with fear and terror. They didn’t sparkle like her outfit. Her arms and legs were tied, and all I could hear were the mumbled words of the lady silenced by my father. He roughly tossed her on the sofa in the garage’s lounge area. I couldn’t believe it. I couldn’t believe I would finally get to see how my father did it. Of course, this was all uncharted territory. Maybe he wasn’t sure how he would do it. Maybe this wasn’t how he used to do it at all. I didn’t move a muscle, rocking gently as I peeked through the hole. Daddy’s fingers caressed her face as he mounted her, straddling her on the sofa. “Beautiful skin. Porcelain. So soft,” he whispered, his fingers running over her cheek. His voice was quiet, calm. It sounded like a different voice altogether. “Her skin was porcelain and soft, too. But she had a freckle right here,” he added, touching

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 1503.84 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 L. A. Detwiler

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