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Stone Angels

  by Paula R. C. Readman

(about 425 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:

thumbnail. “If there’s a problem, I could always go elsewhere.” The size of my order would boost Bert’s takings. “It’s… just… that it’ll take me a while to get it together and…” She gave a smirk. “It’s half day closing too. A friend is picking me up soon.” “Right. I see we have a problem.” “Could you pick it up tomorrow?” “Will Bert be back?” “Unfortunately, no. I’m holding the fort until further notice.” “I’m sure his shop is in safe hands. May I ask— do you know, Mr Hallward? I mean, has he been in here?” “You mean Hallward of Fine Arts? What do you think?” She gestured to the room. “I was hoping to start promoting my work in London and wasn’t sure what the going rate is to exhibit here.” “Why not pop in and see Mr Hallward. I’m sure he’ll be able to tell you if you’re any good or not.” “Is his gallery far from here?” “Not at all— just up the road. You can’t miss it. Very modern. Take a look then you’ll know whether it’s the sort of place you’ll want to hang your work.” “Thanks. So it’s safe to say Hallward has never entered here?” She laughed. “I don’t think he would risk his business reputation on these.” Jackie gestured to the motley collection of paintings. “Unsellable masterpieces, that’s what Bert jokingly calls them. Goodness knows how long some of them have been hanging here. I’m not an expert, but I can on sleep, cleaning the house and pottering around the gardens. Through the kitchen window I saw the early signs of spring. Among the last year’s decay, bright green spears of daffodils leaves showed a promise of things to come, while the yellows of primroses and celandine shone like golden stars in the untidy flowerbeds. In the bread bin I found a stale loaf and cut a slice to lie on the top of the Aga to toast. On my way back from the pantry to grab the butter dish and a jar of marmalade I remembered that I had a stretched canvas ready for a landscape Basil needed for an important client. I buttered the toast and tried to focus on where I could find my next muse. I hastily munched while my mind chewed over the problem of the landscape. Not wishing to waste any more of my valuable time stuck for hours on a wind-swept hillock freezing my nuts off, I decided the best thing to do was fake an abstract landscape just to get the thing done. Taking a tea tray with me, I went through to the hall when the phone rang. I ignored it knowing it could only be Basil. On reaching my studio it rang again, and I picked up. “Hello Basil.” Without even acknowledging my greeting, Basil waffled on about some new commission he had taken on. “My client is a beautiful middle-aged woman with a big personality—and an even bigger bank

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 2122.64 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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