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The Sky Is Falling

  by Sidney Sheldon

(about 285 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 think I’m finally onto something.’ ‘Dana, be careful. God, I wish I were with you.’ So do I, Dana thought. ‘How is Rachel?’ ‘The chemotherapy treatments are draining her. It’s pretty rough.’ ‘Is she going to be-?’ She could not finish the sentence. ‘It’s too early to tell. If the chemotherapy is effective, she has a good chance of going into remission.’ ‘Jeff, please tell her how sorry I am.’ ‘I will. Is there anything I can do for you?’ ‘Thanks, I’m fine.’ ‘I’ll call you tomorrow. I just wanted to tell you I love you, sweetheart.’ ‘I love you, Jeff. Good-bye.’ ‘Good-bye.’ Rachel came out of her bedroom. She had on a robe and slippers, and a Turkish towel was wrapped around her head. ‘How is Dana?’ ‘She’s fine, Rachel. She asked me to tell you how sorry she is.’ ‘She’s very much in love with you.’ ‘I’m very much in love with her.’ Rachel moved closer to him. ‘You and I were in love, weren’t we, Jeff? What happened?’ He shrugged. ‘Life. Or I should say ‘lives.’ We led separate ones.’ ‘I was too busy with my modeling career.’ She was trying to fight back tears. ‘Well, I won’t be doing that again, will I?’ He put his arms on her shoulders. ‘Rachel, you’re going to be fine. The chemotherapy is going to work.’ ‘I know. Darling, thank you for being here with me. I couldn’t have faced this alone. I don’t know what I would do held out her hand, and the driver grunted and took them all. Dana watched him drive off, and she went inside the building. The hallway was deserted. She looked at the slip in her hand, apartment 2BE. She approached a flight of shabby stairs and walked up to the second floor. There was no one around. A long hallway lay in front of her. Dana began to walk along it slowly, looking at the numbers on the doors. 5BE… 4BE… 3BE… The door to 2BE was ajar. Dana tensed. Cautiously, she pushed the door open wider and stepped inside. The apartment was dark. ‘Commissar… She waited. There was no answer. ‘Commissar Shdanoff?’ A heavy silence. There was a bedroom ahead, and Dana moved toward it. ‘Commissar Shdanoff As Dana entered the dark bedroom, she tripped over something and fell to the floor. She was lying on something soft and wet. Filled with revulsion, Dana scrambled to her feet. She felt along the wall until she found a switch. She pressed it, and the room was flooded with light. Her hands were covered with blood. On the floor lay the object she had stumbled over: Sasha Shdanoff’s body. He was on his back, his chest soaked in blood, his throat slit from ear to ear. Dana screamed. As she did, she looked at the bed and saw the bloody body of a middle-aged woman with a plastic bag tied around her head. Dana felt her flesh crawl. Hysterical, she ran down

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 1426.56 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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