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The Nazi’s Wife

  by Peter Watson

(about 520 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 festival was abandoned, and I had rather hoped it might be revived.” Now, I was cheating very badly. Insofar as I knew anything about music, I hated Strauss, yet here I was pretending to like him. More subtly, by referring to the festival, which was held in the summer, I was implying that I would be around that long, that I was not going away. Still she said nothing. “I see you have a music room here, Mrs. von Zell. I envy you. I don’t play, though I did start to learn the oboe when I was a boy. My brother, however, is a really good pianist—Chopin, Schubert, Haydn—he can play beautifully. It’s strange, but music is the only thing he and I have in common. In all other things we are so different. He is three years younger than I and, where I am tall, he is short. I am dark, he is fair. At school I was always interested in art and architecture, the countryside and literature. He was keen on science, math, sports. I was interested in travel, in other countries. He was a German and Germany was his love. I was interested in history but the present and the future were everything to him. Sometimes I think that’s what brothers—families—are for. If I’d been an only child I could have been interested in anything I chose, and, as a result, my personality might have been so vague I would never have brandishing two long, French-style baguette loaves. My plan that day was for us to follow the Salzach River, a device to remind her of the romantic times she had spent on or near rivers, years before with Bruno and her husband. South of Salzburg the river slips through succulent countryside, rich meadows of barley studded with knots of birch. We could picnic at a spot I had in mind, a place I had reconnoitered over the weekend, and in the afternoon there were churches to visit at Kuchl and Golling. Besides the bread, I was equipped with all sorts of treats including a bottle of Welsch-Riesling, which I was trying to keep cool under my seat. When Konstanze appeared it seemed as if she, too, had thought of having a picnic. She was dressed in a pair of dark green trousers, with a yellow shirt under a white sweater. As she walked across the lawn to where I was gently beating Dieter’s head with one of the baguettes, I noticed that she had washed her hair again that morning; it was silky and fluffy and had been pinned back with two bright yellow combs. Her face was blotched from washing—a clean but imperfect look. Her well-kept beauty was to please herself, not me. “Eggs,” I cried. “That’s what we need—hard-boiled eggs. I have bread”—and I tapped Dieter’s head again with the loaf—“cheese, salami, wine and an army map of the Salzach, showing churches and picnic spots

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 2600.64 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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