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Oh the Glory of It All

  by Sean Wilsey

(about 762 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:

house were killed. She was beautiful. She was kind. She was rich. She was maternal. Her ass was not very large, nor was it a sexy, mean little fist. She had a kind ass. She gave me a really cool handheld version of Space Invaders. I couldn’t figure out why. I concluded that she just liked me and was generous. I did not know that she had also been Dad’s lover while pretending to be Mom’s friend. I did not know that my stepmother was almost Danielle, not Dede. I did not know that around the time of the divorce Danielle had proposed to Dad, and he had turned her down. He’d said, “I can’t marry you. I’m old enough to be your father.” Danielle was older than Dede. Had he been hoping for Dinah Shore? I’ll never know. I did not know that I had come that close to paradise—and gone to hell instead. Danielle would have made a great stepmother! I thought of her every time I went into a bookstore or supermarket. There were Danielle’s books, with their dedications to John and Todd and Trevor. It could’ve been me! She’d have loved me. I’d have been a big brother to her son. As for her daughter, the beautiful Beatrix Lazard (this really was her name), who was delicate, sophisticated, and, it seemed to me, of refined sensibilities—it would be okay if we fell in love, because we would not be related. In four years I’d scene: Back from church, Blane cooked two packs of hot dogs on a huge flat grill we had in the center of the stove at the penthouse. The songTequila” played in the background. There was a lot of smoke and sputtering noise. Blane wore a dirty baseball cap and an untucked oxford. A cigarette dangled off his lower lip. He drank a beer and pressed the dogs with a spatula so they hissed. He nodded to the music. The camera pulled back and a girl called Ariana—a pack-a-day smoker from Urban who Mom disapproved of—entered the frame, looked at the grill, and said, “Hey, what’s cookin’?” Blane raised his eyebrows, smirked knowingly, puffed on the cigarette. Ariana (who’d laughed at enough of my jokes in first-period history class for me to convince her that she shouldbe in my movie”) made a painstakingly choreographed expression I’d instructed her to make because I thought it was sexy (she thought it was ridiculous). She tipped her head back, closed her eyelids, rolled her eyes back behind them, and ran her tongue slowly around the outside of her mouth. Then she opened her eyes, nodded her head back down, inclined her chin at the grill, full of hot dogs, smiled, and bit her lower lip. The camera tracked over to the grill. The dogs sizzled. I cut. Everybody held their place. The dildo went on the grill. The camera started again. The dildo, spanning the whole grill, seemed to appear

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 3808.08 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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