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The Disappearing

  by Lori Roy


(about 398 pages)
99,494
total words
of all the books in our library
54.81%
vividness
of all the books in our library
8.50%
passive voice
of all the books in our library
2.82%
all adverbs
of all the books in our library
0.55%
ly-adverbs
of all the books in our library
2.27%
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
you never said you wasn’t either.” “And what do you think I could have said?” She stares up at him. “I couldn’t tell. He said he’d hurt more of them if I did. And what if I had told? Was anyone going to care? Even now, after everything we know about that school, what has anyone ever done?” “I don’t know, Lane,” Mark says. “I guess I wish at least you’d told me.” “Told you what? Should I have told you I hid in the attic because of a childish argument with Erma I can’t even remember? That I sat up there for hours, doing nothing? That I fell asleep while they were all looking? Should I have told you I left notes for the boys and my father called me a whore? Should I have told you someone might have died because of all that?” Lane made one mistake. She ran off and hid. She wanted Erma to miss her, to worry, to be sorry. It’s what children do. She should have been able to forgive herself, but if she hadn’t hidden that day, there would have never been a search and Neil’s guard from the school would have never found Lane’s note to the boys who ran. But he did, and that’s why Neil called in more guards and all the neighbors and that’s why he was sure one of those boys somehow had something to do with Lane disappearing. But that hadn’t been true. Lane had been tips her head toward the sky as the boy talks. I do the same, and I see them too. Bats darting overhead, shooting across the sky barely beyond our reach. Together, Susannah and I watch them. They come from farther upriver, skimming the water, swinging out over the banks, dipping and soaring into the sky. Susannah lays one hand on the swollen trunk of a cypress, steps over the roots that ride high because the river is down. In the glow of the church lantern, the cypress knees rise from the riverbed like stalagmites rise from a cave’s floor. She stretches a hand out over the water, touches the tops of the woody formations. Slipping in and out of the trees, Susannah wanders to the farthest edge of the lantern’s light. Wrapping her arm around one cypress, she circles it and reaches for another. As she spins around the trees, she works her way downriver toward the clay banks and the spot where the tracks cross over. I can hear her better than I can see her. She’s flipped off her sandals and has stepped from dry land into the water. She kicks at the river, wading up to her ankles, splashing with her toes. Are there alligators? she calls out. I get only glimpses of her white arms and the tiny wakes her feet leave behind in the water. The moon is full and shines off the river, but I’ve nearly lost sight of her. And then the lantern

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 1989.88 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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