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Out of the Attic

  by V. C. Andrews

(about 326 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:

myself. Now he claims it’s time I do what I should be doing, more landscape art, which I’ve told you is closer to my heart. He’s seen my work and he thinks that now I will do very well.” “Oh.” “Don’t look despondent. What I propose is you come with me.” “What?” “We’ll leave right away. You can rest there as well as here. I have all the arrangements planned. I’ve accumulated enough money to give us a good start, and Jean-Paul has already acquired a small house at the seaside for me. I’ve written to him before about you,” he added, confessing. “He’s anticipated this.” “I don’t know. If Garland finds out we’re leaving together…” “He won’t, and by the time he knows anything, we’ll be long gone.” “But… France?” “You’ll learn the language. We’ll have a home, and we’ll have our own garden. It will be infinitesimal compared to Foxworth Hall, but in time, after I become a famous artist and I’m earning thousands…” “That was never what was important to me,” I said. “Now, don’t go hating being rich because of Garland Foxworth,” he chided with a smile. “What do you think?” “I have nothing, and if I went back to get some of my things…” “We’ll have what you need to leave.” I thought about all the reasons to say no. Of course, I thought about Malcolm, but I didn’t worry that he would suffer unduly. Perhaps I should have, but I kept thinking he was portrait, regal and dazzling, and started to descend, for once following my mother’s advice and stepping down slowly like a queen would. Garland appeared in the hallway and looked up at me with the pleasure and pride he often showed the first year after Malcolm had been born. How dapper he was in his gray herringbone, three-button frock coat hemmed at the waist, high-sitting black trousers, Penworth red vest, black leather boots, and a high-collared dress shirt with a puffed black tie. If there was one thing I’d never be daft about, it was fashion, both for women and for men. He had a John Bull top hat in hand and put it on before taking a step forward and holding his arms out. “That’s all new,” I said. “Down to your tie.” “Exactly. I needed new clothes for my upcoming business trip.” He held up a nearly empty glass of champagne. “I started our celebration early. You look absolutely lovely, Corrine. You were right about your dress. It suits you.” He met me on the last step and held out his arm. “Our own private ball, my lady,” he said. I put my arm through his, laughed at the way he postured and walked toward our grand ballroom as if the hallway was lined with adoring and envious people. His pianist was playing “Casey Would Waltz with a Strawberry Blonde.” He was a bald-headed man with bubbly cheeks. His brown eyes caught the light when he smiled and nodded

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 1631.24 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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