How to Use IBM’s WATSON Artificial Intelligence to Improve Your Writing — FOR FREE

by Martina Boone

It’s no secret in the tech world that IBM’s artificial intelligence program is poised to do amazing things in terms of predicting and improving the likeabilty, accuracy, efficacy, and even tone of communications. ANY communications. H&R Block is even advertising this year that they are using it as part of their tax preparation process.

So, it occurred to me, can we–as writers–use Watson in some way to improve our own writing?

Yes, I think we can. Tone is a huge part of writing, especially in particular genres. We need our opening chapters to draw people in, to give them that sense of familiarity and comfort that tells them they are IN the genre they are expecting. That doesn’t mean that the tone or likeability of the text in a work of horror will be the same as that in a romance, obviously. But I wondered if it might mean that there would be some commonalities in scores between best-sellers within a genre.

And there is. I also found that books that didn’t do as well often didn’t share those commonalities.

IBM has a free sample “tone” analyzer online. You can use it here:

https://tone-analyzer-demo.mybluemix.net

You can paste in a chapter of your work, or someone else’s work, and get immediate feedback on everything from the emotions displayed. I used a sample from the first two chapters of Stephanie Garber’s AMAZING gothic fantasy Caraval that just hit the New York Times bestseller list to generate some screenshots.

This is the overall document level result for that sample first two chapters, which analyze the text both at the document and the sentence level.

As you can see from the above, the results are broken down by emotion, language style, and social tendencies. Each of those results is also provided in a more precise breakdown showing, sentence by sentence, what contributes to a score. If you want to see where you exhibit what will (most likely) be interpreted as joy in your pages, you simply click on that emotion and each sentence that tends toward joy will be highlighted in the text.

An explanation of each result is also provided so that you understand the function of each result.

It also analyzes the style of language and shows the specific instances that display the tone being analyzed:

Similarly, social tendencies like openness, conscientiousness, extraversion, agreeableness, and emotional range–all of which contribute to likeability, can be analyzed on a granular level.

Using this tool, you can make sure that your writing says exactly what you want it to say, and you can tweak it online until you are confident.

About the Author

Martina Boone is the author of Compulsion, Persuasion, and Illusion in the romantic Southern Gothic Heirs of Watson Island trilogy from Simon & Schuster, Simon Pulse, and the new upcoming romance for adult readers, Lake of Destiny, a magical exploration of destiny, family, healing, and the often twisted path to love set in the Highlands of Scotland (and featuring delicious men in kilts.)

She is also the founder of AdventuresInYAPublishing.com, a three-time Writer’s Digest 101 Best Websites for Writers Site, and YASeriesInsiders.com, a site dedicated to encouraging literacy and reader engagement through a celebration of series literature. She’s on the Board of the Literacy Council of Northern Virginia and runs the CompulsionForReading.com program to distribute books to underfunded schools and libraries.

Martina Boone

Martina Boone is the award-winning author of the romantic southern gothic Heirs of Watson Island series, starting with COMPULSION from Simon & Schuster, Simon Pulse and the Celtic Legends Collection of novels set in Scotland, Cornwall, and Ireland beginning with LAKE OF DESTINY. She’s passionate about improving lives through literacy and the love of books, and she runs the Compulsion For Reading program to distribute books to underserved schools and libraries.

She lives with her husband, children, Shetland Sheepdog Phinney, and Zoey the lopsided cat, and she enjoys writing contemporary romantic fiction with a hint of magic set in small towns and beautiful places. When she isn’t writing, she’s addicted to travel, horses, skiing, chocolate flavored tea, and anything with Nutella on it.

Post © Martina Boone and/or Adventures in YA Publishing. All rights reserved.

Posted: Feb 21, 2017

Category: Imported from AYAP

Tags: Craft of Writing | Martina Boone

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The first slide is an animation of a science/magic room in a castle. A cartoon character of a mad-scientist looking man in in the foreground says: “Hello! Dr. Frankenstein here to say, Well Done on kid lit zombie week! I’m an expert at reviving the dead, and let me assure you, with a little spark, you can bring dead projects to life. Especially if you dig up parts from other dead things. I’ll even let you have a sneak peek at my laboratory’s store room to consider potential parts for your dead project. If you see something with a yellow glow, that means you should click it. Have fun!”

He points to the right side of the screen and a new scene slides in of a castle science/magic storage room. There are various cartoon Frankenstein body parts scattered around. Some of them have a yellow glow. If you click on them, the images below appear (I’ve added alt text to them, so I hope it works).

The Heart of your story is the main character. The protagonist is the beating core that truly brings your story to life. If your MC doesn't make kids (and their grown-ups) care within the first few pages, your story will flatline. </p>
<p>Your main character needs to be:<br />
• Relatable enough for kids to see themselves<br />
• Unique enough to stand out in the slush pile<br />
• Active enough to drive the story<br />
• Memorable enough to survive multiple readings at bedtime</p>
<p>Where do you find this amazing donor heart? It might be the very thing you loved so much about the manuscript you want to revive. It might be the younger sister from your shelved YA novel. Or maybe it’s the hilarious kid you blogged about meeting at a school visit. Find a character beating with potential and place it in the center of your story.<br />

The Brain of your story is the theme or central message. The theme is the big idea that controls everything else. Picture books are more than stories - they're tiny life lessons disguised with humor and heart.</p>
<p>But your theme needs to be:<br />
• Subtle enough not to trigger the dreaded "didactic" rejection<br />
• Clear enough for a four-year-old to grasp<br />
• Universal enough to speak to both kids and adults<br />
• Fresh enough to prevent agents and editors from responding with "Not another sharing/bedtime/first-day story!"</p>
<p>Check your other dead manuscripts to see if there is a recurring theme, something that really seems to be speaking to you. Find the bit of poetry you scribbled on the back of a receipt to see what theme inspired it. Reread the pep talk you texted your critique partner at 1am. Pick the theme that will drive your story, giving it purpose, direction, and deeper meaning.<br />

The Legs of your story is the plot. Not to be confused with a grave plot.🤪 The plot is what keeps everything upright and moving, as well as providing support for all the other elements. You have very few words to use in a picture book, so you need to do a lot with each plot point.</p>
<p>In general, your plot should:<br />
• Hook readers fast<br />
• Build tension that a child can follow<br />
• Create page turns that feel natural<br />
• Wrap up in a way that satisfies</p>
<p>You can borrow a plot twist (a leg) from one manuscript and the opening (the other leg) from a different manuscript. Consider if the subplot of the middle grade novel you trunked would work better as a picture book. Or maybe your Facebook post about a disastrous camping trip could become a story for kids. Just keep putting one foot in front of the other until you have your storyline.

The Arms of your story are the side characters.

The Torso of your story is the setting. Setting helps a story breathe and connects all the elements of the story. It isn't just where your story lives, it's what makes your story ALIVE. It's the difference between "this happened in a park" and "this happened in that park, the one with the twisty slide that burns your legs and the creaky swing that sounds like a baby crying.”</p>
<p>Your setting should:<br />
• Make your character's world feel real<br />
• Contain your story in a way that makes sense to young readers<br />
• Connect different scenes and moments organically<br />
• Give your illustrator enough room to add visual subplots</p>
<p>Half-finished manuscripts are a great place to dig up settings, since you worked out the place details before the plot petered out. Or maybe you had to cut a second fantastic location from your chapter book. You can also revisit the detailed caption from your Instagram carousel documenting your tour of that delish candy shop. Disinter a robust setting that can house all of your story's vital organs.

After you press the Click When Done circle button, the lights flash with the sound of electricity buzzing. Then the screen goes black and lightning zaps across the screen with the sound of thunder.

The screen then lights up to show the storage room, and all the Frankenstein pieces have been assembled into the whole monster. An upbeat song plays in the background. Then a speech bubble pops up with the words, “I’m alive! I’M ALIVE!” Then the screen goes to black.

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