A machine mapped the most frequently used emotional trajectories in fiction, and compared them with the ones readers like best.
“My prettiest contribution to my culture,” the writer Kurt Vonnegut mused in his 1981 autobiography Palm Sunday, “was a master’s thesis in anthropology which was rejected by the University of Chicago a long time ago.”
By then, he said, the thesis had long since vanished. (“It was rejected because it was so simple and looked like too much fun,” Vonnegut explained.) But he continued to carry the idea with him for many years after that, and spoke publicly about it more than once. It was, essentially, this: “There is no reason why the simple shapes of stories can’t be fed into computers. They are beautiful shapes.”