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Beneath the Attic

  by V. C. Andrews

(about 321 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 could think was left to me was who, if anyone, would be a bridesmaid. Of course, I thought about Daisy first and then wondered how she would react to learning I was going to be married in ten days. People, if Garland was right, were receiving the invitations this very moment and would soon be talking about it. Everyone at home would know. If I remained here, Daisy wouldn’t be able to ask me any questions. Maybe that was good. “I want to send a telegram to my best girlfriend and ask her to be my bridesmaid,” I said. He paused and thought, as if what I was asking was a very big thing. “What?” I said. “I’m not putting up any guests at Foxworth Hall, not even distant cousins. I’m arranging for carriages to be available at the train station on the day of our wedding, and your father and I will have a special train scheduled to leave at ten in the evening for Alexandria so your parents’ guests can easily attend and go home. It’s expensive, so we have contracted for only two passenger cars for this special edition.” “What does that have to do with my maid of honor?” “We’ll have to check to see how many guests they have invited so no one will be without a seat.” “I should have a maid of honor, Garland.” “And that will mean her parents, I’m sure. That’s three people, three more seats.” “Who else would be three, times as large as my parents’ bedroom. An ornately carved cherrywood bed was at the center. It had hand-carved posts topped with a white canopy. The bed was covered with a spread of quilted satin. There were two large white pillows with hand-crocheted pillowcases. The bed was set between two large paneled windows, which were draped in light-blue pleated antique silk curtains. The room had a polished hardwood floor, but there was a thick light-gray wool rug beside the bed. “The bed is a little oversized for a bachelor,” he said, “but we Foxworths have our superstitions.” “And what is this one?” “Since I’ve slept in this bed so long, the babies made in it will inherit our best features and health. Looks like a wasted pillow right now.” He leaned closer to whisper, “But I alternate nights with each.” He laughed at my expression of surprise. Was he serious? There was a large mirror to our left, and beside it was a dressing table of cherrywood. Everything on it was neatly organized. Beside the dressing table was a large dresser and what looked like a very large closet next to that. There was one blue cut-velvet chair oddly facing the bed as if someone sat there to watch him sleep, perhaps watching something else as well. On the right were another closet and another small dresser. The room had a fireplace, which was now unlit. “Where do your few servants sleep?” “Their quarters are above the carriage garages

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 1602.78 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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