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House Arrest

  by Mike Lawson

(about 360 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:

you’re only twenty years old. His father’s attitude had been that there were a million women out there, and Sebastian just needed to get back on his horse and start riding again. His father was wrong about that. The world may have been filled with women, but there had been only one for him. When it came to Jean, the expression soul mate wasn’t a cliché. But there was one thing his father had been right about. His father pointed out, in his typical macho, callous fashion, that the reason Sebastian had lost Jean was that he hadn’t been willing to fight for her. He’d let Lyle Canton steal her, as if she’d been a car and Sebastian had carelessly left the keys in the ignition. His father had said that real men don’t let other men steal things from them. It was from that point forward that Sebastian had decided he would never lose again, or if he did, it wouldn’t be because he backed away from a fight. People thought his business tactics had to do with making money but they really didn’t. He had all the money he would ever need. What drove him was that he’d vowed that he would never be beaten again because of being weak or disengaged or unwilling to do whatever it took to keep what was his. He couldn’t believe it the night Jean walked up to him at the Smithsonian event. He hadn’t seen her in over twenty years—he’d was cookingfried chicken, beef stew, pot roastso he wouldn’t have to cook again for two or three days. And he was making his spaghetti dinner the easy way. His mother was an incredible cook, and although she was Irish, she specialized in Italian cuisine, mainly because she’d married an Italian, DeMarco’s late father. When his mom made spaghetti and meatballs, she bought handmade pasta from a place in Queens and made her sauce and meatballs from scratch. The sauce started out with a couple of cans of crushed tomatoes and a little tomato paste, then she started tossing things into the pot: eggplant, fresh herbs, a little onion, a little sugar, and so on. The meatballs were made by combining two pounds of hamburger with eggs, Parmesan cheese, bread crumbs, and spices she refused to divulge even to her own sister. She then formed the meatballs into perfect spheres, identical in size, seared them in a frying pan to seal in the juices, and then let them simmer in the sauce for three hours. DeMarco’s way was much simpler. He bought a box of spaghetti, two jars of Newman’s Own marinara sauce, and a package of twenty-four frozen, already-cooked meatballs; dumped the meatballs into the sauce—and thirty minutes later he was ready to open a bottle of red wine and sit down to dinner. He had to admit that his mom’s pasta tasted better than his, but his was edible. As he waited for the spaghetti water

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 1801.90 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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