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Mrs March

  by Virginia Feito


(about 304 pages)
76,087
total words
of all the books in our library
70.96%
vividness
of all the books in our library
6.21%
passive voice
of all the books in our library
3.25%
all adverbs
of all the books in our library
1.31%
ly-adverbs
of all the books in our library
1.94%
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 made a joke. “I saw you earlier,” continued Darren, “with Professor March. Are you two actually dating?” His eyes darted toward George, who was still chatting away. “Yes—well, we’re married,” said Mrs. March with unconcealed pride, her hand rising to flash the sizable ring on her finger. “He’s not a professor anymore,” she added, hoping Darren would inquire about George’s recent success. He huffed. “I should have known,” he said. “Known what?” “That you cheated on me with a professor.” Mrs. March swallowed. “I did no such thing.” “Of course you did! Someone told me they saw you two together the day after you dumped me. Couldn’t even wait forty-eight hours, could you?” Mrs. March was left speechless. It seemed silly, albeit somewhat flattering, that someone would go to such lengths—would consider her important enough to spy on. “And of course you went for the professor,” said Darren. “Everything you do is just for show.” “Don’t be silly.” “Did you even care about me? Or did you zero in on me because my family had money?” Mrs. March was about to point out that her own family had much more money than his, but she shushed him instead, saying, “People are staring.” “Well, I’ll have you know I’m doing quite well now. I’ve been hired at The New Yorker. They pay rather well, as you might know.” This news stung a little, for George had recently submitted a story to The New Yorker, where it had been taste. The basket was a beautiful rattan picnic hamper, filled with juicy, swollen red raspberries and purple grapes, a stoppered glass bottle of freshly squeezed orange juice, sugar-crusted scones, and a small bouquet of daisies. Her sister enjoyed a reputation for her meticulousness with presents. She always managed to gift the most lovely things. It was annoying, really. It almost felt like a competition. Mrs. March probably still had the basket somewhere—probably buried in the linen closet. She could find it, fill it with flowers, maybe put it on a shelf, or on top of the fridge in the kitchen. Why, she could even renovate the entire kitchen accordingly, transforming it into a rustic dream of wicker-backed chairs, red gingham tablecloths, and dried flowers in old tin watering cans or hanging upside down from wooden ceiling beams. The exterminator looked up from the bathroom floor. “That should kill ’em dead. Mind if I wash this stuff off my hands?” When Mrs. March saw him off, she strolled, in as casual a manner as she could manage, into the kitchen to toss the tainted hand towel into the trash and ask Martha to bread the chicken cutlets for lunch. She had resolved to tell Martha, only if prodded, that the exterminator’s visit was merely preventative as she’d caught wind of an infestation in the building next door, but Martha only nodded her head at the petition for chicken cutlets, and went right on peeling potatoes. AFTER LUNCH, Mrs. March sat

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 1521.74 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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