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Corliss

  by V. C. Andrews


(about 60 pages)
14,941
total words
of all the books in our library
27.62%
vividness
of all the books in our library
9.57%
passive voice
of all the books in our library
3.65%
all adverbs
of all the books in our library
1.42%
ly-adverbs
of all the books in our library
2.24%
non-ly-adverbs
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:

MOST PASSIVE PAGE
MOST VIVID PAGE
the spring school party was, and come into the bathroom, where I was surprised to find Lily and her clique. The moment I had entered, she had pounced on me with her offer. I had hesitated to attend this party. I knew how bad it could get, but despite what the girls in my class thought about me, I, too, wanted to have a good time. However, unlike them, I didn’t think I had to set my brain on fire to do it. Unless some of them did that, they were bored—and to them, there was nothing worse than being bored. A list of their causes of boredom could paper over the walls of their bedrooms. Every day, they tried to outdo one another by adding to the list of what bored them the most. Being in class was dreary no matter who the teacher was or what the subject was. Homework was dreadfully boring and was always thought to be a punishment or a burden. Being with your family was boring. Going to family affairs like birthdays, anniversaries, and even Christmas dinners was extra boring. Watching most television was boring, especially if you had to do it with your family. Eating a good breakfast was so boring you could fall asleep chewing and swallowing, especially if your mother was standing over you and telling you what was good for you. Reading was boring, unless it was a tweet. Being in the library, where it was very quiet, was of everything, would settle things down. But it wouldn’t do that for me. It was truly as if the drug had done more than cause a traumatic physical reaction. It had opened my eyes to a part of myself that had longed for an opportunity to be active—an aggressive part. Logic would always tell me not to permit myself to be baited, to become like them. Yes, I knew the famous saying that once you became like your enemy, your enemy had won. But I was tired of logic. I welcomed rage. I kept it well hidden. As far as my parents were concerned, I was moving on, still doing exceptional work in school, and now expanding into a social life. For the time being, it did subdue my wrath. I was about to go on my first real date. No one knew, not even I, what doors of exploration it would open for the girl locked inside me. It was as if I were blossoming into a totally new person, a new identity. My father was home when Jackson came over to pick me up. The restaurant was only a few blocks away. Jackson wasn’t wearing a jacket, but he had on a dark blue shirt and a light blue tie and a pair of blue slacks, not the typical dress clothes other boys in my school wore. Anticipating the way he would dress, I had put on one of my nicer pink blouses and a black skirt

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 298.82 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.

similar books by different authors

other books by V. C. Andrews

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