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A Very Private Woman

  by Nina Burleigh

(about 433 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:

FBI, but the source was never discovered. Al Hantman had just lost his most important case. Before the trial he had been oblivious to Mary’s social connections. He hadn’t known about the diary or her connections to JFK, but if he had, it wouldn’t have made a bit of difference to him. Immaterial to his case. Not evidentiary. They had their man, Crump, and Hantman was sure he was guilty. “It all hung on the presentation of the case and the summation given at the end,” Hantman said years later. “I’m not a preacher and my argument didn’t go over too well. But if you base it on logic and to what conclusion reasonable minds might come, there was a fair argument that he was the one.” After the trial ended, Hantman received a call from Ben Bradlee, who wanted to get his assessment of what went wrong. “I told him it’s a flip of the coin. You could describe it as jury nullification. If the jury were true to its oath it would follow the law and the only way it could come out would be with a verdict of guilty. But if they don’t like personality or race, they go off and do whatever they want. And here was a guy that just walked.” Roundtree would later say that Crump was such a timid little man, if he had been guilty, he would have confessed everything on the spot as soon as the police had him. It was GREY TOWERS Keep an anchor to windward in case of revolution. AMOS PINCHOT, 1933 Floating candles in the shape of white lilies sent small ripples of reflected fire around the surface of the Finger Bowl. Crickets chirped accompaniment to the soft conversation of the Pinchot brothers and their families and guests, seated around the water table in the arched brick pavilion that served as a summer dining room at Grey Towers in the 1920s and 1930s. The water table was three feet deep and the pool within was framed by an oval stone wall with a wide shelf where the plates, cutlery, linen, and glasses were arranged on woven mats. A large piece of coral on the bottom of the pool recalled a sailing trip to the South Seas. Uniformed servants delivered the food on balsa wood rafts decorated with gold and indigo peacock plumes, and the dishes floated from diner to diner with a gentle push. Often the Sunday night fare was baby peacock, raised in cages on the grounds of the northeastern Pennsylvania estate so that the birds never walked and thus did not become tough. Cornelia Bryce Pinchot, the wife of Pennsylvania governor Gilford Pinchot, liked to tell her guests that a platter of peacock tongues, as served to kings in classical literature, really did make a fine dish. More plebeian fare was also served, fresh from the gardentomatoes, potatoes, lima beans, asparagus, peas and carrots. The children at this table could never resist the urge

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 2163.60 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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