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The Saints of Swallow Hill

  by Donna Everhart

(about 423 pages)
total words
of all the books in our library
of all the books in our library
passive voice
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all adverbs
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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:

knew about him since he showed up after I was already buried. When I come to, he’d already gone back to work. Can’t nothing explain that.” He’d not talked about it for so long, it sounded foolish. Like a dream. He lifted his shoulders and looked away. He was inclined toward thinking it had been intended as some sort a lesson. Sudie May took it in stride and said, “It must not have been your time.” “I reckon not.” She raised an eyebrow toward Rae Lynn. “And… Rae Lynn and Cornelia had separated again, and Rae Lynn was working on a different row. Del rubbed his chin and shrugged. “And what?” “What do you reckon she’s running from?” “Beats me.” “She’s real pretty.” “I guess.” “Have mercy, you blind?” “I can see perfectly fine. She don’t see me is the problem.” Sudie May smiled and said, “Ain’t but one reason I can think of makes a woman ignore a man.” Del tried one of his old jokes. “I’m ugly?” She laughed and said, “That, or another man.” He’d wondered about that. Maybe she was married already and, like Cornelia, escaping some jackass who didn’t know what he had. If that was it, he must not have cared much about her, not in the way he would if he had a chance. Sudie May continued to ponder. “I mean, why else is she acting like she’s hiding from something?” Del didn’t know what to say. He had no idea. Sudie May swaying statuesque pines capped with the deep-green needles, inhaling the pungent aroma of smoke, the sharp odor of turpentine, pitch and tar, all mingled in with the warm evergreen-scented wind. The cicadas sang, starting as a low buzz that worked to a feverish, high-pitched hum. The turpentine camp that was Swallow Hill came into view. There was a commissary, a house beside it, a cooper’s shed, and a distillery. Workers’ shacks were set some ways off, row after row of them. A couple of white women hung out the wash in one section. Another path led toward rows of smaller shanties farther down and on the opposite side. A colored woman came out of one those and tossed out a bucket of dirty water onto some plants in a small garden. For some, there was fencing to square off a tiny spot of land where chickens were kept, and most had little plots staked out for vegetables. Del came upon a man sitting outside the commissary. He peeled an apple and ate the slices off the end of the knife. He didn’t look friendly, but he didn’t look unfriendly neither. He had dark brown hair, deep creases around his mouth, eyes the same color as his hair, set close together, one going inward a little more than the other. Beside him was a hat with a crow feather stuck in the band. Del approached him and said, “Hidy. Who would I see about working here?” The man’s gaze, while uneven

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 2113.64 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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