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Elevator Pitch

  by Linwood Barclay

(about 446 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:

into for a period of time, Barbara had to admit, deep down, that she was relieved to be spared the daily turmoil. Thirteen months ago, Barbara’s mother passed on. Heart attack. “This is how I see it,” Arla had told Barbara the last time they’d sat down together. “You leaving me with them is what drove them to an early grave. I was a bitch and a half, no doubt about it, but I should have been your bitch and a half, not theirs.” “I can’t rewrite history,” Barbara had said. “Yeah, but you don’t have a problem writing about others who’ve made a mess of theirs,” she’d countered. “Bad things people have done, mistakes they’ve made, that’s your whole shtick. But looking in the mirror, that’s not so easy.” Barbara hadn’t known what to say. The truth was always difficult to argue. They’d had a serious argument six months earlier. Arla wanted to go out west, try to find her father. Barbara did everything to discourage her, and offered no clues that would help her track him down. “The man’s not worth finding,” she said. Arla was furious. Barbara said something she wished she hadn’t. “Maybe you’d have been happier if I’d given you up for adoption and you’d been raised by strangers.” “You’re the stranger,” Arla shot back. “Always have been.” And then Arla had gone in for the kill. “I have this friend who’s getting married, and she says her mother’s driving her crazy, wanting to be winds. Bourque finished his meal, put the food-stained container into a garbage bin under the sink and his fork into the dishwasher, next to three other forks, the only other items in the appliance. He took five minutes and looked at the pictures in the skyscraper book. “Wow,” he said to himself several times. Then he went into his bedroom to take off his tie and dress shirt and suit pants. He tossed the shirt into a bag that would be dropped off at the dry cleaner at week’s end. The pants he lay carefully on the bed, then took a gripper hanger from the closet, clamped it to the cuffs, and hung them up. He stripped off his socks and tossed them in a laundry basket. Come Sunday morning, he’d fill his pocket with quarters, head to the basement laundry room, and do a wash. Now, dressed only in boxers and a T-shirt, he went back into the kitchen and sat at the table. Next to the paints was a twelve-inch metal ruler, which Bourque used to draw several long, straight lines on the cardboard sheets, then several small boxes in a grid formation. Standing, he sliced off some of the cardboard sheets with the oversized paper cutter, then with the box cutter lightly scored the art board along some of the pencil lines, allowing him to bend the cardboard to a right angle without separating the pieces. Sitting back down, he cut some strips of the balsa wood

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 2231.70 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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