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Spindrift

  by V. C. Andrews


(about 80 pages)
19,918
total words
of all the books in our library
33.87%
vividness
of all the books in our library
9.60%
passive voice
of all the books in our library
3.42%
all adverbs
of all the books in our library
1.25%
ly-adverbs
of all the books in our library
2.17%
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
himself. He really didn’t want to be who he was. It was truer for him than it was for her. Afterward, when she thought more about it, she was saddened. She couldn’t do what he dreamed she could. She couldn’t give him a new identity. She was too involved in searching for her own. What he thought they might create together was so much a fantasy that it almost qualified as hallucination. This was, after all, only a side road they had taken together. If it didn’t have an end, it simply turned back into the main highway. It was certainly no escape. Maybe not tomorrow, maybe not the day after that, but soon they would look at each other and know they had to go back. Perhaps neither of them could verbalize what it was that they would be returning to, but it was out there, waiting, waiting with the patience of the confident and arrogant. The trick is not to let that destroy you, she thought. She looked at him. He had closed his eyes with a smile on his face, and in moments, he had fallen asleep. She was satiated, but she still envied his look of contentment. After all, he wasn’t a gifted student; he was a drifter. He couldn’t go as deeply into everything as she could, as she knew that she would despite her effort to resist. Sadly, she thought, You can’t help being who you are. The hardest thing in life might be pieces bought at thrift shops or secondhand furniture shops. In front of the bed was a long metal trunk. The two bedrooms shared one bathroom, which had one sink, a tub with a showerhead, and a dull white shower curtain. The linoleum on its floor was broken in places, showing the dull gray wood floor beneath it. Some towels that looked like they would have to be beaten into softness hung on a rack. Mayfair saw a mug with a shaving brush and a razor in it and a toothbrush holder with two well-worn toothbrushes. The mirror on the door above the small sink looked like it was fading away. An uncovered bulb in the ceiling fixture would provide the only light. Right now, there was enough light streaming through a small window above the tub and shower. It had no curtain. “Cozy, huh?” Leo asked. She looked at him without comment or expression and left to check the other bedroom. It was a bigger room but had a bed that didn’t look much bigger than a single. There was no headboard, just four poles that maybe once supported a canopy or even a net to keep out mosquitoes. The bed was made with a military-looking brown blanket and pillow. A pair of worn fur-lined black slippers was beside it. There was a dark brown area rug worn so badly in spots that the bottom threads were visible. To the right was a dark oak dresser with three large drawers

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 398.36 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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