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The French Widow

  by Mark Pryor

(about 312 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:

your heroic act.” The sarcasm was invisible, but Hugo was pretty sure it was there. “I did, yes.” “Did she know at the time an American was the shooter?” “We still don’t know that.” The gun, on the other hand… “Is that so? My sources mislead me then.” “As you can imagine, they’re not telling me much about that investigation.” Hugo shifted, wanting to change the subject. “Have you heard anything from your son?” A flicker of worry passed over Lambourd’s face, but it was gone in an instant. “Not yet. As you’re one of the investigating officers, I was hoping you may have an update.” “No, sir, I’m afraid not. I promise the moment I do, I’ll let you know.” “I’m sure he’s just gotten into some scrape with his friends.” The veneer cracked a little, and the look of worry returned. “Everyone thinks I’m too soft on him, and maybe I am. He’s my only child, my son. And despite all of this”—he waved at the splendor around them— “he’s not had an easy life. Maybe because of all this.” “I’m in no place to judge or advise,” Hugo said. “I don’t have kids, so I wouldn’t know what I was talking about.” “All I can tell you is, most parents would do pretty much anything for their child.” “Most?” “You’ve met my mother, have you not?” Lambourd didn’t smile because, Hugo assumed, he wasn’t trying to be funny. “When Fabien was born, I vowed to do better cook than me. I take care of the wine, and bought the most expensive foie gras. She’s making a steak and kidney pie with mashed potatoes.” “That’s what I’m smelling,” Hugo said, his mouth almost watering. “Delicious.” “It’s all a little heavy for my palate, but I grant you it smells heavenly.” “For dessert?” Hugo asked. “Ah, for dessert she’s making bread pudding.” He grimaced a little. “Sticking with the theme of heavy food, it seems.” “And yet, still delicious.” “Perhaps. Of course, the foie gras and the wine had to be French. English pâté islumps of meat, no better than dog food, and their wine is worse than vinegar. And we can hardly drink beer for dinner.” Hugo smiled. “Hardly.” “You Americans drink beer with dinner, n’est-ce pas?” “Americans don’t discriminate. They drink beer with lunch, dinner, snacks, whenever they want. We are less bound by tradition, perhaps.” “Or taste, perhaps.” Asshole, perhaps, Hugo thought, but just smiled, and asked, “Your mother, how does she feel about English food?” “Unless it’s high tea, then not much.” “I would imagine she’s not going to eat the pie or the pudding.” “Probably not.” Lambourd smirked. “But then again, neither will I. I think I told you, I’m a vegetarian, so just Erika and Marc will have that pleasure. After all it’s for him, n’est-ce pas? Mother will enjoy the foie gras, I’ll have a salad and maybe some pudding, and everyone will appreciate the wine

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 1558.34 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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