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Mayfair

  by V. C. Andrews


(about 79 pages)
19,851
total words
of all the books in our library
39.23%
vividness
of all the books in our library
8.98%
passive voice
of all the books in our library
3.44%
all adverbs
of all the books in our library
1.42%
ly-adverbs
of all the books in our library
2.02%
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
had decided to pretend none of it had happened. Finally, at lunch, Corliss made an announcement. “Neither Donna nor I think we should go back to the mall. Analyzing it from all angles, we concluded there’s no positive result for you or for us. The chances are probably slim that this Leo guy will be there, and even if he is, what percentage is there in anything meaningful happening? He’s a drifter, and I don’t mean like us.” “This was supposed to be our little experiment,” Donna added. “We thought having all our observations would make anything that happened different. We’d weigh the pros and cons so that none of us would do anything foolish.” The definiteness of their conclusion annoyed Mayfair for some reason. Perhaps they were jealous, she thought. Leo had concentrated on her mostly. She wondered if she sounded as arrogant as they did when she offered an opinion. Was it simply in their nature to be that way, something that came from their confidence that whatever they said had to be certain, had to be true? “I’m not sure we gave it enough time,” Mayfair said after a moment. “There are some conclusions that don’t require much time to be reached,” Donna said. “What makes you so sure this was one of them?” she fired back, now not hiding her annoyance. “All this is hypothetical anyway,” Corliss added. “He won’t be there tonight, and even if he was, the chances are he’d ignore us. We didn’t Fried onions.” “Okay,” Mayfair said. “But change my coffee to lemonade.” The waitress left, and they all sat silently, looking at the way girls just a few years older were dressed and how they behaved. There was a joie de vivre, a lightness, anyone could see they envied. “Don’t you get the feeling sometimes that you’re in another country?” Corliss asked. Donna and Mayfair nodded. Mayfair turned slowly to her left. She could feel his eyes on her. A man who looked like a teenager but had to be twenty-one, evidenced by the glass of brew in his hand, was staring at her with a wry smile on his lips. His dark brown hair was swept back on the sides, but his bangs fell to the right on his forehead, reaching just above his eyebrow. He wore a navy-blue leather jacket, a black V-neck T-shirt, and a pair of black jeans that dropped halfway down what looked like grayish-black cowboy boots. He lifted his glass of beer in a toast to her and sipped it, not moving from the wall against which he leaned. The lights from behind the bar cast a shadow over him, but she could see his softly carved jaw and firm, full lips. In this light, his eyes were dark orbs. He had a Roman nose. His smile tightened the corners of his mouth. Something about her and Donna and Corliss obviously amused him. When they were served their lemonade and fried onion rings, he laughed

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 397.02 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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