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Ink and Bone

  by Lisa Unger

(about 430 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:

was sure that was the right way to do things. But it was just more of the same. “What about Miss Montgomery?” she asked. “Will she be able to help?” He’d been clear with Merri that there were no guarantees, and she got that. There had been a number of private detectives before Cooper, and she knew how it went with them. With the presentation of that first big retainer check, every single one of them believed that he’d be the one to bring Abbey home. But then when the weeks wore on, the calls would be less frequent; then Merri’s calls would go unreturned. Inevitably there would be a conversation about how all the leads were cold, the police had done a decent job, nothing had been missed. Nothing missed—except her daughter. Now she was that mother who, in her desperation, had turned to a psychic. A terribly sad cliché, something people had laughed about (mirthlessly) in one of the groups she’d visited for families of missing children. They’re waiting like vultures for us, these charlatans, one father had said bitterly. How do they live with themselves, taking our money when we’ve lost everything else? But Merri had an aunt who’d had prophetic dreams, the stuff of family legend. And there had been a few strange things about Abbey, too. She had a dream that her hamster Daisy was going to die, and the next day he (there had been some gender confusion) did. Sometimes when Abbey had room. Sunlight washed in through a stained-glass window beside it, casting a confetti spray of rainbows on the wood floor. There were pictures of a happy young couple on a rickety old piano. Two china dogs sat pretty on the fireplace hearth. On the candy-striped walls, there were portraits of children—a boy playing baseball, riding a tricycle, opening Christmas presents. There was a pretty girl on horseback, a chubby blond toddler on the beach, a young woman with a baby wrapped in pink. Family pictures, like the million pictures her parents had—except the photos at home were on phones, computers, digital picture frames. Different people, different places, but the same energy (her mommy’s favorite word)—happy, beautiful, look at us and all the little pictures of our life. Penny followed Bobo to the upstairs landing and down a wide, carpeted hall, where he pushed open a door. Warm sunlight washed bright and yellow, spilling onto the rug. Penny blinked against the brightness as she walked inside. It was a princess room, pink and lace with a four-poster bed and plush carpet. Tiny roses on white wallpaper. Shelves of dolls and teddy bears, rows of 4H trophies for riding horses and raising chickens—and not the small plastic ones that everyone gets. Tall, glittering towers with horse and rider on top, emblazed with First Place. Little golden horses jumped or stood regal beside the little gold rider. Ribbons in blue and green, red and white. Looking closely she saw

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 2147.86 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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