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The Mirror Sisters

  by V. C. Andrews


(about 312 pages)
78,042
total words
of all the books in our library
30.49%
vividness
of all the books in our library
10.39%
passive voice
of all the books in our library
3.85%
all adverbs
of all the books in our library
1.18%
ly-adverbs
of all the books in our library
2.67%
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
she said. “I’ll get through it, but you have to do something for me.” “What?” “You have to go meet Anthony and tell him what happened.” “What?” “Please. You have to.” “Can’t you just email him or call him?” “No. He’ll think I’ve been playing with him, and he’ll never contact me again. He’ll believe you if you go there. Just tell him and come back,” she said. “I’ll be fine until you do. We don’t want to ruin Mother’s night, too, anyway, right?” “I don’t know, Haylee. You’re sick. He’s not the most important thing right now.” “He is to me. You can do this for me, can’t you? Please. I’ll be all right. I’m close to the bathroom. Kaylee!” She screamed at my hesitation. “I’m sick. Do this for me!” The whole thing was making my head spin. “How did you get sick so fast?” “I just told you. It’s the flu,” she said, took deep gasps, and lowered her head. “Are you going or not? Are you going to make me do it? I’ll be throwing up in the street.” “Where do I have to go?” “Go left out of the movie theater and then two blocks to a coffee shop on the corner of Barnes and Hyman Way. The shop isn’t open, but he’ll be standing in front of it. He’ll be wearing a red cap. Just go. Tell him what’s happened, and come back. If I can’t stand it anymore, we’ll call Mother, but I’d own clothes, including my bra and panties. I was wearing a thick, faded pink flannel nightgown. I gazed around. It looked like I was in a basement. The only two windows were boarded up on the outside. The walls were paneled in a light wood, and in front of me was an old, heavy-cushioned brown sofa, a small coffee table, and a bookcase on the wall behind the sofa. Besides books, there were little figurines and toys on the shelves, model planes, and model cars. Next to the shelves were drawings pinned to the walls. They looked like the drawings a child would make of mountains and trees. In all of them, there was a cat. The concrete floor was partially covered with thick, tightly woven area rugs. To my right was a metal sink, a counter with a linoleum surface, and a small two-door refrigerator. Beside that was an oven and a range with a teapot and a pan. There was a cabinet above this, and beside it was a closet without any doors. The shelves were stocked with boxes of cereal, rice, cans of soup, and other things, and on the counter was a bread box. I turned slightly to look at the rest of the basement. Just behind me was an area meant to be a bedroom. There was a double bed with a metal headboard, two large light blue pillows, and a light blue comforter. There were two wooden side tables and a dark wood dresser

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 1560.84 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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