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The Interruption of Everything

  by Terry McMillan

(about 443 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:

it. Hide that Nintendo from him and I betcha he’ll do it really really fast.” “You guys are the least of my worries right now.” “What about Grandma Lovey? She coming, too, ain’t she?” “Do you think I’d leave her here?” “No. She been had her suitcases packed. Look under this bed and look in that closet over there. She been ready to go.” “Well, I have to take her to the doctor tomorrow and see what she says might be the best thing for Lovey.” “That doctor is a lady?” “Yes, she is, and she’s also black.” “I could be a doctor when I grow up if I wanted to.” “I know that. You can be anything you want to be when you grow up.” “Is Mama gonna have a whole funeral?” “I’m not sure what kind of service it’ll be.” “You mean they have more than one kind?” “Sometimes family members have a small memorial service where you can say good-bye.” “But I don’t wanna say good-bye to her when she dead.” “I have to look into it tomorrow.” “When will the memory service be?” “I don’t know yet. Why?” “Do we have to go?” “I would think so, Tiecey.” “I don’t like funerals. And I don’t think I’ma like no memory service either.” “How many have you been to?” “Just one, and I was scart. I don’t like ’em. Neither do LL. Mama won’t know if we there or not, will she?” “I think she would. We’ll kitchen all right. Pink and gray linoleum on the floor. The sink hosts its share of unwashed dishes. Pots on the stove just like at Lovey’s: one with hard rice, the other with string beans that have been cooked so long they’re brown. A frying pan is full of cold white chicken grease. On the floor over by the kitchen table are mounds and mounds of hair that look like black cotton candy with an occasional cluster of red vines running through it. “Blue?” she yells again. “What?” a voice that sounds almost like an echo sails around the corner from that hallway. “Get your ass in here and clean up this damn kitchen. You said you was doing it last night. I told you we had a early appointment.” Orange grabs the broom and sweeps the hair up so fast I’m mesmerized just watching her do it. She then calls the little girl, “Brittany, get in here and clean off this table before you walk out that door and it better be now!” Here comes Brittany, who does exactly what she’s told. Her hair is braided thicker and shorter. I think it’s hers. She removes the plates and bowls and dirty glasses and grabs a bottle of Fantastik, sprays the table so it’s spotless, and then says, “We need six dollars for lunch.” Orange lifts a pound of hair and flips it over her shoulder then reaches inside her jersey under a soft mountain of brown flesh and pulls

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 2213.20 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 Terry McMillan

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