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Burn It All Down

  by Nicolas Didomizio

(about 303 pages)
75,835
total words
35th PERCENTILE
of all the books in our library
46.07%
vividness
48th PERCENTILE
of all the books in our library
9.23%
passive voice
83rd PERCENTILE
of all the books in our library
3.76%
all adverbs
92nd PERCENTILE
of all the books in our library
1.46%
ly-adverbs
89th PERCENTILE
of all the books in our library
2.30%
non-ly-adverbs
87th PERCENTILE
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
move should be, but hearing her say that out loud makes me abundantly certain of what it should not be. “Are you insane? We’ll go to jail. This is a major crime.” “You think I don’t know that? Christ.” She can barely grasp her cigarette firmly enough to flick an ash out the window. “Listen to me. We aren’t going to jail. Maybe I will, but—I swear to God—you’re going to be fine. You’ll live with Nonna if you have to. You’ll go to college. You’re gonna have a normal life. Okay? I’ll say it was an accident and that I did it alone. The car, the house, everything. This is all my fault anyway. You have your future to—” “No!” is all I can manage to squeak out before the air escapes my lungs. The thought of a future without Mom feels like a black hole. Losing her would be like losing a limb. Or a sense. I’d be armless and blind. “You can’t do that. There’s no way they won’t know I was with you.” “Why? Just say you were at Nonna’s all night. If you’re ever even questioned.” She finally manages to flick an ash, but her hand is still shaking. Hopefully that means she has some doubts about this incredibly stupid idea. “If I confess,” she continues, “it will be an open-and-shut case for them. If I don’t confess, there’s gonna be a whole investigation. And then we’ll both be screwed.” “No one will Clank. Clank. I’m guided down the hall by the faint glow of dim track lighting. I find her standing in the open-concept kitchen, chucking dishes across the living room like Frisbees. The shiny hardwood floor at the bottom of Richard’s stone fireplace is peppered with chunky ceramic confetti. Rihanna would be proud. “Gimme!” I giddily command. “You know what really kills me about this?” Mom hands me a bowl. “It’s that I knew better than to trust his ass. But I did anyway.” “Fuck him.” I hurl the bowl at the fireplace and watch the pieces burst and scatter. It’s entrancing to hear the room go from total silence to clank and back again. I grab myself another bowl. “Fuck all of them.” “I just thought, ‘You know what? I’ve never been with a big-shot successful guy like this.” Mom picks up a plate. “Maybe Richard’s right. Men like him are busy.” She thrusts her entire body weight forward on her throw. “Yeah.” The plate explodes against the stone and shavings rain down onto the floor with the rest of the wreckage. “Real fuckin’ busy.” Mom steps away from her pitcher’s mound and grabs a can of spray paint from the Walmart bag. I stand back in awe as she unleashes it all over the kitchen—on the counters, stainless-steel appliances, cabinet doors. Her approach is abstract: random lines, squiggles, zigzags with no rhyme or reason. She’s a pissed-off Picasso in skinny jeans and mascara. “I’m going upstairs.” She tosses

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 1516.70 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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