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About My Mother

  by Peggy Rowe

(about 195 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:

I’m not wanted.” The song “Two Different Worlds” was playing on the radio. “You’re wrong. You know how mothers can be.” “She doesn’t like me. That’s not going to change.” “I’ll talk with her.” “Don’t bother. Maybe she’s right. Like the song says, we’re from two different worlds.” Weeks passed, and other than an occasional sighting on campus, I didn’t see or hear from John, and I was furious with my mother. She’d spent years complaining that I was too focused on horses when I should be socializing, going to dances, dating. And now that I was doing just that, she wasn’t satisfied. Open rebellion, the path my peers would have chosen, had never occurred to me before, but I was angry and, for the first time ever, stood up to my mother. Sort of. “You know, it isn’t John’s fault that his parents are divorced or that he’s not built like Wilt Chamberlain.” Mom’s eyebrows shot up, and her jaw dropped. “Besides, I’m not interested in any boy who laughs all the time. I guess you want me to date somebody who… who drives like a maniac!” “Don’t be silly! Your father and I just don’t think he’s suitable. He’s six years older than you, and you said yourself he has been on his own for ten years. He was in the army, for goodness sake. You’ve never even been away from home!” “I have so! Have you forgotten that I was a camp counselor last summer?” It was of new, cookie-cutter duplex houses. Two horses were leaning across a wire fence, straining to nibble tufts of pale green grass by the curb. The gray gelding had long shaggy fetlocks and abundant manure stains on his rump and shoulders. He had rubbed the top of his tail against a tree trunk or other object until the stubbly hairs looked like a porcupine’s. The other horse was a lovely reddish bay mare with a thick, unruly black mane. Her dusty coat said that she had just rolled in the dirt. They weren’t classy Thoroughbreds like Maresy Doats, but they were beautiful all the same. At the edge of the pasture, stood a ramshackle stable constructed from scraps of wood and corrugated metal. At first glance, it reminded me of Grandma’s quilts. One of the pieces of siding was a weathered wooden yellow sign with the word “DETOURprinted upside down in faded black letters. The patchwork building was dwarfed by the mountain of manure piled alongside. “Bill lives with his mother and has never worked a day in his life, as far as I know. He’s eccentric.” My father spoke in a matter-of-fact, nonjudgmental tone. “He devotes his life to animals.” In all, there were six horses. One of them drank from a dented metal trash can by the fence. The green hose coming from the can trailed up the hill to a small white bungalow. When a blue convertible with bales of hay jutting from the gaping trunk roared

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 974.16 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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other books by Peggy Rowe

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