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Gone Too Long

  by Lori Roy


(about 416 pages)
104,120
total words
of all the books in our library
55.17%
vividness
of all the books in our library
8.67%
passive voice
of all the books in our library
2.78%
all adverbs
of all the books in our library
0.47%
ly-adverbs
of all the books in our library
2.31%
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
could have Christopher with him. He could be sitting in the car and his head wouldn’t reach high enough to be seen and maybe he was carried so I didn’t hear his smaller footsteps. He’d be asleep and quiet and he could be there in the front seat, and I’d never know it. Christopher knows he can never say Eddie’s name. Never. Not even to me. And I’ve never let him know Garland’s name, though he may have heard Eddie say it just like I did. It’s been our rule ever since Alison died. No names except your own. Or rather it’s been my rule, and I taught it to Christopher from the beginning. If we never said their names, they weren’t quite as real. In the dark field, he promised me he wouldn’t hurt Christopher if I ran and never came back, but then he doused me in kerosene, so now he’ll think I’m dead. I have nothing. Not even shoes on my feet, and to let him think I am dead is the best I can do for Christopher right now. Until morning, it’s the best I can do, but once the sun comes up and he goes to the field, he’ll see I’m not there. In the morning, he’ll know I’m not dead. He’ll drive away now and I’ll walk up those same stairs and I’ll knock and I’ll tell Imogene. I know her though I’ve never met her. All these years, she’s most of what I’ve Dirt and grass scratch my calves and feet. I feel it then, something warm on my face. The house, our house, is burning. I squint, hold up a hand. On the second story, a window explodes, and orange and yellow flames shoot into the dark sky. I push off the ground, my knees buckling beneath me. Stumbling backward, halfcrawling, half walking, I scream for Christopher, but he’s not here with me. He’s in the basement, where he’s waiting for me to open the door for him so we can run. No, Imogene came. Imogene took him away. I had to let him go. The field is burning too. The clumps of grass, tall blades that grow in thick tufts, are dry and brittle on the inside, like a haystack, Mama would say, because no one ever bothers to cut back the plants in winter. The fire is crawling toward me. Flames are shooting out of the bundles that grow nearest the house. The tops that were once pink, feathery blooms erupt into flames. Sparks flutter overhead, catch a dry, sharp tip, and the grass next to me begins to smolder. Staring at the orange sparks that float like stars, I continue to back away, and still I smell the kerosene. He’s doused the house in it, the field too. The smell is heavy enough to burn my eyes. Still stumbling backward, away from the sparks and ash raining all around, I lift the neckline of my cotton gown. It’s damp

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 2082.40 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 Lori Roy

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