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The Strangers

  by Margaret Peterson Haddix

(about 300 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:

don’t have to worry about being kidnapped,” she said in her usual firm voice. “I promise. I’ll do everything I can to prevent that.” It would have been really reassuring, except that Mom’s voice quivered at the very end. And why would Mom think she’d need to prevent anything? Chess Chess woke up in the middle of the night with aches in his legs. Growing pains, he thought. Mom had explained them to him a year ago, and then she’d helped him look them up online. Finn had asked, “What? It hurts to grow as tall as Chess? Maybe I’ll just stay short!” Finn was still so little he thought you could control things like that. Chess couldn’t remember his own brain ever working that way, thinking he got to choose whatever he wanted. For as long as Chess could remember, he’d had to be the responsible oldest kid, the one who had to help Mom with Emma and Finn. The mini grown-up. Was it just because Dad had died when all three of them were so young? Or did the other Rochester, the one who’d been kidnapped, feel that way, too? Chess could picture the other Rochester—Rockycrouched beside his younger brother and sister in some locked, windowless back of a van somewhere, or some locked, windowless basement. The younger kids would be crying. But Rocky would be telling them, Everything’s going to be all right. I’ll take care of you. Even if he was really thinking, There’s a switch, because suddenly light glowed around her. “Oh, good,” Finn said. “I didn’t know where the flashlights were, anyway.” Chess and Natalie were already rushing toward the opening. Both of them had to hunch over and touch their hands to the floor to duck through the secret doorway—it was really more like a half doorway. At least Finn only had to bob his head to the side and then back up again as he scrambled after them. He stepped into the secret room and joined the others in looking around and around. Despite the smell, the room he stood in now was clean and neat with no evidence of bugs, dead or otherwise. The walls were lined with shelves, and unlike the shelves in the Boring Room, these shelves were packed. Finn saw cartons of Campbell’s soup and ramen noodles, and bundles of water bottles and peanut butter jars. He saw row after row of canned peas and tuna fish and pear slices, applesauce and mandarin oranges and corn. “It’s just a pantry?” Finn said in dismay. “We have something as cool as a secret room hidden under our house, and Mom just uses it to store food?” “And old shoes?” Emma asked, pointing at a stack of shoeboxes Finn hadn’t noticed. Maybe they were full of spare new shoes—Finn saw that the picture on the side of the nearest shoebox was of the very same sneakers he wore on his feet. “What if there aren’t shoes

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 1501.54 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.

similar books by different authors

other books by Margaret Peterson Haddix

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