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Ten Days in the Hills

  by Jane Smiley


(about 826 pages)
206,594
total words
of all the books in our library
38.33%
vividness
of all the books in our library
9.13%
passive voice
of all the books in our library
3.51%
all adverbs
of all the books in our library
1.00%
ly-adverbs
of all the books in our library
2.50%
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
see just what Gogol would have seen and Taras would have seen, and it is not worth seeing only because they would have seen it, but because it is beautiful to see and should be put on film—” “Before it’s changed forever,” said Stoney. Then he added, “That’s what Isabel thinks. Isabel is Max’s daughter. I don’t know if you met her.” “Perhaps. But what I was thinking was that a painting of this place is not big enough. Cinerama, or even IMAX would be almost big enough.” “Yes,” said Sergei, “I have often thought that Taras Bulba in IMAX would be a worthy project.” Max said, “You gentlemen have ideas of your own. You have a vision of your own. This is your movie. Why don’t you make it yourselves instead of trying to find someone to make it? I mean, produce it and direct it.” How could this idea be insulting? Stoney thought. And yet there was some way in which it did seem like an insult, as if Max were saying that this was not an interesting enough project for him, that he had better things to do, but also denigrating whatever it was that they did do for a living and implying that he could not be bought. But of course he could be bought, he had been bought many times. Directors in Hollywood of Max’s sort rather prided themselves on being bought, because if you could be bought to direct a project that you had out a scene from one of his books. My part was to come in one door of the lecture room and shout, ‘Ah ah ah!’ and then go out again. I had to do that four times.” “What scene?” said Elena from the stove, where she was opening the oven door and bending down to look inside. “I don’t know,” said Simon. “I wasn’t in the room long enough to make sense of it, but one girl did take her shirt off. I saw that.” “Good heavens,” said Elena. She stood up, a fork in her hand. “Well, she had a bra on. It was fine, Mom.” “‘Fine.’ I hate that word.” But she smiled at Simon, then said, “Anyway, these veggies are done, Delphine.” Max saw Isabel look over at Simon. She did not smile. Stoney was laying the slices of cucumber and tomato on the chopping board in a circle. “The soup is ready,” said Delphine. “What soup?” said Max. “Artichoke bisque,” said Isabel appreciatively. “My request.” Now the food began to be carried to the table—a big salad, the pot of pale creamy-green soup sprinkled with crispy croutons, a dish of caramelized roasted vegetables (he recognized potatoes, carrots, garlic, onions, fennel, and dark delicious-looking quartered mushrooms), a baguette of whole-wheat bread, another dish of braised asparagus sprinkled with herbs. Charlie said, “Do you-all ever eat meat?” “You’ve got to be kidding,” said Isabel. As they were pulling out their chairs and sitting down at the table

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 4131.88 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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