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Come Sundown

  by Nora Roberts

(about 573 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:

the smoke trail off into the night. “I’m healed up. It’s going to be up to him whether we have a conversation or something more … physical. But I can’t let it go. It’ll be harder if you ask me to let it go, but I still couldn’t.” “What I’m going to ask is you don’t go start that conversation alone. I don’t doubt you can handle yourself, Cal, but you’d fight fair. It’s how you’re built. He won’t, as that’s not how he’s built. He’s got a streak in him, and always has.” Sam sipped some whisky. “And now he’s ruined himself around here. Nobody’s going to take his side on this. Can’t say what the courts will do, but nobody’s going to take his side. He’ll never be a peace officer again wherever he goes—and go he will, if he doesn’t end up in prison. He’ll want to do more than bloody your nose.” Sam drew on his cigar, let the smoke go. “I’m going to ask you for that. Don’t go for him alone. Take somebody you trust to bear witness to a fair fight.” It grated some, but the fact was Sam Longbow invariably talked plain sense. “I won’t go alone.” “All right then. Now, why don’t you tell me what you want to ask me about? If it’s my daughter’s hand, I’m likely to give it, but it’s still going to twist up my heart.” The knot came back, slipperier than before. “I’m not … we’re burger with bacon, pepper jack cheese, and jalapeño sauce,” Bodine told her. “Chase has a fondness. How are you going to dance in those shoes?” Jessica glanced down at her hot red stilettos. “Very gracefully.” “I like ’em.” Callen gave them a leer and a wink. “How’d the wedding go?” “Without a hitch. The bride wore a lace off-the-shoulder gown with a fringed hem, white boots, and a white Stetson with a crystal hatband. The decorations were, well, obsessively Western—silver horseshoes, wildflowers in cowboy boots and hat vases. More boots in table favor shot glasses, bandannas for napkins, burlap table runners. The cake had fondant to replicate cowhide, and the topper—the happy couple on horseback. It actually worked.” “I wouldn’t mind having a boot shot glass,” Callen said. “Well, I’ll see if any got left behind.” She glanced at the menu as she spoke. “What are Screaming Nachos?” “Melt your face off,” Bodine told her. “Sounds good. We ought to get some for the table.” “I don’t see any salads.” For a second or two Bodine just blinked, then she threw back her head and howled. “Jessie, you come here for the red meat, the hot sauce, the beer, and the music. Rabbit might find its way onto the menu, but rabbit food won’t.” She grinned as Rory and Chelsea came back with the drinks. “Have a drink, or two. It’ll all go down easier.” So saying, Bodine hailed Darlie and ordered a large platter of Screaming Nachos

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 2864.94 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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