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Lie For Me

  by Mick Bose


(about 304 pages)
75,907
total words
of all the books in our library
52.81%
vividness
of all the books in our library
8.49%
passive voice
of all the books in our library
2.64%
all adverbs
of all the books in our library
0.79%
ly-adverbs
of all the books in our library
1.85%
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
on. When I’ve finished, she says, “And you don’t know who did it?” “No.” That’s a white lie. I have a strong hunch who did it, but I don’t know for sure. “The police are looking,” I say. She shakes her head slowly. “The type of place where he was, anything could have happened.” We are quiet for a while, each nursing our own pain. I say, for no reason, “Jeremy and I are going through a break as well. As you can imagine, Tim was his senior partner. There’s been some fallout at work. It’s all getting on top of him.” “Oh. I’m sorry.” I hold her eyes and see that she means it. “What’re you going to do?” she asks me. I have thought of this already, and I see no reason not to tell her. “I’m going to live with my dad for a while. Take Molly with me. He lives outside London.” It’s what I should have done to begin with, when this rubbish with Clive kicked off. I could have kept him away from Jeremy. Well, it’s time to do it now. Because Clive hasn’t given up. He’s still around with his demonic helper Eva. And I have no doubt he’ll make life hell for me again. “Who do you think is doing this to Henrietta?” Joanne asks. “I don’t know,” I answer honestly. “But I will ask around. I have been, and I’m sure the children know. But they don’t tell us everything, do enough livestock, and a limestone quarry at the edge of our land. Farming isn’t easy in the Dales. The hill uplands are covered by moors, and not much grows there. It’s in the Dales that we have the hay meadows and drystone-walled fields. In summer the meadows are lush with growth, and all the wading birds fly down from the moorlands. The birds are red green and blue, and flutter like brushstrokes against the yellow meadows. The journey takes a while. We get off at Skipton and have to take another slow train to finally reach Askrigg. The village is big, and served well by roads, but it is remote. Rain falls steadily from a leaden-grey sky as we approach. Dad is waiting for us at the station. He’s not hard to spot in his burly sheepskin jacket, ruddy complexion and white, bushy beard. The platform is more or less empty, only two more passengers alight with us. Molly shrieks and runs towards and he picks her up and swings her round. He envelops me in a hug, and I smell the familiar odours of hay, livestock and diesel from the tractor carts. Dad holds me at arm’s length. His eyes are blue and they twinkle even on this drab day. “So good to see you, lassie. Missed you.” “You, too, Dad.” I mean it. He picks up my heavy suitcase and we walk out of the station. I have the hoodie of my jacket up and the rain drums

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 1518.14 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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