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Under Occupation

  by Alan Furst

(about 226 pages)
total words
of all the books in our library
of all the books in our library
passive voice
of all the books in our library
all adverbs
of all the books in our library
of all the books in our library
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:

are over. You’re now like some kind of poisonous plant, it’s not safe to be anywhere near you, so it’s time to go, to leave France. You can refuse, of course, they will accept your answer politely, but, if it’s the wrong answer, if it’s No, I won’t, you’ll be dead in an hour. That’s how it has to be done, chéri, I’m sure you understand.’ Ricard thought it over, what it would mean to him, and then said, ‘If I have to run, Leila, will you run with me?’ ‘I will. I’m in love with you, Ricard, I won’t let you go.’ ‘And Kasia?’ ‘She must also leave, she’s being told as we sit here.’ ‘All right, Leila, we’ll run. Where will we be safe?’ ‘Spain, at first, then, in time, Istanbul. My family will take care of us, and Turkey is a neutral state, so you’ll be safe there.’ ‘And when do we leave?’ ‘Tomorrow. The doctor will let us stay here overnight.’ Kasia travelled west, crossing the frontier into Switzerland, in time reaching a chalet, deep in the mountains, where a very rich woman friend meant to wait out the war. Kasia was greeted warmly, by good friends from Paris, and given a glass of well-aged Burgundy. ‘Will you go back to Paris?’ her friend asked. ‘Maybe someday,’ Kasia said. ‘For now, I am very tired; is there somewhere I can rest?’ ‘Your bedroom is upstairs,’ her friend said. ‘Come, I’ll show you where, and I have lined with plane trees, trunks grey and knotted, crowns pollarded into round shapes, where the dying leaves rattled in the autumn breeze. On either side of the road the wheat had been harvested, leaving fields of brown stalks lit by the pale blue sky that followed a rainstorm. As the wagon passed a stone roadside marker – thirty miles to Rouen – a flock of geese flew overhead, migrating south in a vee formation, their honking loud above the quiet fields. It was famously beautiful here, in what was known as the Vexin, the Seine Valley: the valleys and hills in a perfect harmony of land. From time to time the road ran next to the river, flowing north, its surface churned by strong currents from yesterday’s rain. A gust of wind sent dead leaves rustling across the road, and Ricard felt, as the horse clopped along and one of the wheels squeaked, that he was home, Paris and its mobs of people left behind; the village of Saint-Denis quickly passed, he was now in France. As the paysan turned onto a dirt lane, also lined with plane trees, the horse quickened her pace, she knew she was home, and, around a gentle curve, a house appeared. At least a hundred years old. Colonel de Roux’s house, the curved terracotta roof tiles now crooked, the shuttersgreen paint flaking away. When the paysan pulled up to the door, some French version of a border collie stood guard, barking at them and prancing

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 1130.86 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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