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The Racehorse Who Learned to Dance

  by Clare Balding


(about 168 pages)
41,896
total words
of all the books in our library
42.84%
vividness
of all the books in our library
8.38%
passive voice
of all the books in our library
3.14%
all adverbs
of all the books in our library
1.16%
ly-adverbs
of all the books in our library
1.98%
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
than cross. ‘I’d love to know more about it. Polly was very tired afterwards, but she wouldn’t tell me what exercises she’d been doing. We’re going to the doctor this afternoon for her latest assessment and I think she’ll be impressed.’ Mrs Williams patted Charlie on the back approvingly and then said, ‘Polly tells me she’s seeing Miss Cameron again on Wednesday. I can cancel my plans and come along. I’m intrigued.’ Charlie’s mouth opened and shut, but no words came out. ‘You just need to let me know where and when. I’ll not cause any bother, I promise. Polly said parents weren’t allowed to come to the sessions, but your mother was there, wasn’t she?’ ‘Um …’ Charlie didn’t know what to say. She didn’t want to tell an outright lie, but she knew Mrs Williams would be horrified if she knew Polly was riding Noble Warrior. ‘It’s c-c-complicated,’ she finally stammered. ‘You’ll have to ask Polly. She might not be ready yet for you to see her … performing.’ ‘Oh? It’s a performance thing, is it? I thought it was therapy. I’m not sure Polly is ready to perform! She’s never liked being judged. Wouldn’t that be a bit unfair?’ ‘Yes, no, well. Um, it is therapy.’ Charlie had to think quickly. ‘But it’s also building up to a performance and I think Polly wants it to be perfect before she can show you.’ She smiled in what she hoped was a comforting way. ‘Got to dash – going to be every speck of dust from his coat. Percy was a more difficult case. He had deposited a spectacularly runny poo down the insides of his back legs, which had turned his white socks brown. Charlie tried as best she could to wash off the offending smudges, but with little effect. She had decided it would be safer all round if she rode Percy alongside Noble Warrior so that he didn’t panic. She could also guide him with a leading rein. Noble Warrior followed Percy and his poo-smudged hind legs into the outdoor arena. Charlie had found an old towel to fling over his back so that Polly could grip a little better. She figured it would be safer and more comfortable than riding completely bareback. The horseshooves sank into the oiled sand-and-rubber surface, which was softer and more forgiving than the sun-baked ground they had been using at home. Brightly coloured bits of rubber, recycled from electrical wires, gave the mixture a bit of elasticity – it was the equine equivalent of a sprung floor for ballet or dance classes. Charlie had threaded the orange plaited string through Noble Warrior’s bridle so that she could lead him from her position atop Percy. ‘OK, Pol?’ she asked. Polly nodded silently. Percy paused to admire himself in the mirror. How could anyone fail to appreciate the singular beauty of a chubby Palomino pony with four white socks (even if they were a little splashed), a white-blond mane, one blue eye, one brown

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 837.92 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 Clare Balding

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