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The Umbrella Lad

  by V. C. Andrews


(about 312 pages)
78,046
total words
of all the books in our library
38.02%
vividness
of all the books in our library
10.48%
passive voice
of all the books in our library
3.89%
all adverbs
of all the books in our library
1.21%
ly-adverbs
of all the books in our library
2.68%
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
wasn’t going to let you be lost. I still won’t. I’m going to make you into a fine young lady who won’t be dependent on a man or another woman. Someday, when you’re my age, you’ll think back and never stop thanking me. I know you’re too young to realize it now, but you will. “Men need a lot more than women need. They’re weaker, and not just on the inside. You’ll see. Your father is so desperate that some woman will have an easy time taking advantage of him. It’s probably what’s happening now. It’s his own fault, but in the meantime, there’s you. Why should you be neglected?” Then she quickly added, “You won’t,” before I could utter a sound. Maybe she thought I would still cry to find Daddy. Maybe she thought that was the real reason I had come up the stairs. “You’ll be here, safe, growing stronger and wiser. You will be happy, too. I promise you that.” She stared at me, now almost daring me to disagree. I walked into the room, right up to the bed, and said, “I’m sorry. I’m sorry I didn’t know about your birthday, Mazy. I have nothing to give you, but I would have drawn a picture for you if you had told me when it was going to be.” I wasn’t sure what else I should add, but that seemed to be enough. She smiled. “You can still do that. I’d like that. I’m sure it will king-size four-poster dark-maple wood bed was at the center of the room, with a window on the wall on each side of the crescent-shaped headboard embossed in twirling shapes, some of which looked like fish. There were end tables on each side with lamps, the shades a pale yellow. Everything looked old, just like the furniture in the living room. At the foot of the bed was a large brown rug. There were smaller ones on each side of the bed as well, covering part of the cold-looking grayish tiled floor. To my immediate left was a walk-in closet, the door opened enough for me to see the rack of dresses and shelves of shoes, hats, and what I thought were purses. I saw the closet drawers, too. There was a full-length mirror on the inside of the closet door. The floor in the closet was carpeted in the same shade of gray as the tiled floor. Mr. Pebbles’s white quilted pet bed was in the left corner of the room with a water dish beside it. On the immediate right was a large dresser with an attached square-framed mirror. On the left wall was a large matching wood-framed picture of a ghostlike young woman, looking like she was fleeing into the darkness, the train of her white gown floating behind her. I could see the shadowy trees in the background. Her face wasn’t very clear or visible, but I thought she was probably pretty. “Who’s that?” I asked, nodding

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 1560.92 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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other books by V. C. Andrews

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