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  by Stephen King

(about 476 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:

go out there, it was just… over. He was dead.” He could have reminded her that she’d had Tad’s welfare in mind above her own the whole time. That the reason she hadn’t gone for the door was because of what would have happened to Tad if the dog had gotten to her before she could get inside. He could have told her that the siege had probably weakened the dog as much as it had Donna herself, and if she had tried Cujo with the baseball bat earlier on, the outcome might have been entirely different; as it was, the dog had almost killed her in the end. But he understood that these points had been brought to her attention again and again, by himself and by others, and that not all the logic in the world could blunt the pain of coming upon that mute pile of coloring books, or seeing the swing, empty and motionless at the bottom of its arc, in the back yard. Logic could not blunt her terrible sense of personal failure. Only time could do those things, and time would do an imperfect job. He said, “I couldn’t save him either.” “You—” “I was so sure it was Kemp. If I’d gone up there earlier, if I hadn’t fallen asleep, even if I hadn’t talked to Roger on the phone.” “No,” she said gently. “Don’t.” “I have to. I guess you do too. We’ll just have to get along. That’s what people do treasured. The gravy boat went. The big serving platter. The Sears radio /tape player went on the floor with a heavy crunch. Steve Kemp danced on it; he boogied on it. His penis, hard as stone, throbbed inside his pants. The vein in the center of his forehead throbbed in counterpoint. He discovered booze under the small chromium sink in the corner. He yanked out half- and three-quarters-full bottles by the armload and then flung them at the closed door of the kitchen closet one by one, throwing them overhand as hard as he could; the next day his right arm would be so stiff and sore he would barely be able to lift it to shoulder level. Soon the blue closet door was running with Gilbey’s gin, Jack Daniel’s, J & B whisky, sticky green crème de menthe, the amaretto that had been a Christmas present from Roger and Althea Breakstone. Glass twinkled benignly in the hot afternoon sunlight pouring through the windows over the sink. Steve tore into the laundry room, where he found boxes of bleach, Spic ’n Span, Downy fabric softener in a large blue plastic bottle, Lestoil, Top Job, and three kinds of powdered detergent. He ran back and forth through the kitchen like a lunatic New Year’s Eve celebrant, pouring these cleaning potions everywhere. He had just emptied the last carton—an economy-size box of Tide that had been almost full—when he saw the message scrawled on the noteminder in Donna’s unmistakable spiky handwriting

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 2381.90 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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