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The Greenlanders

  by Jane Smiley


(about 1,105 pages)
276,139
total words
of all the books in our library
40.06%
vividness
of all the books in our library
7.20%
passive voice
of all the books in our library
3.23%
all adverbs
of all the books in our library
0.66%
ly-adverbs
of all the books in our library
2.57%
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
whether or not he is wanted. Either that or Hrolf must find him an abandoned steading, and furnish him with meat and other sustenance for the winter.” “I thought Ofeig was content in Alptafjord. An action of outlawry must be brought against him.” “Whether he is made an outlaw or not, he is no longer content to live as an outlaw.” “If he is made an outlaw, then he must live as an outlaw, for if he comes into the districts of men, they may kill him with impunity.” “They may, but can they? What weapons do the Greenlanders have now against such a bear as Ofeig? It is as it was twenty winters ago, when Ofeig was a child. He could not be chastised, and defied beatings, so that folk were tempted to beat him harder and harder, to make sure that the blows were felt. We prevented his mischief only by the harshest measures, and only as long as our strength was greater than his.” “At any rate an action must be brought, and you must persuade the master of Ketils Stead to bring it, and you must find someone to take Ofeig’s behalf so that everything is according to law. After that a way will be found to stem the child’s mischief.” “It may be as you state, and it may be that Jon Andres Erlendsson will summon witnesses against Ofeig, although he hasn’t before this, and it may be that the relatives of Einar Marsson will row, the silver comb, a necklace of glass beads, an ivory spindle weight carved to look like a seal with its head up and the thread coming out of its mouth, a small knife with a beaten iron handle, and two or three woven colored bands to be worn with her headdress, as well as the little ship. Next to these she stacked her folded undergarments and stockings, and beside these she set her new shoes, then, after saying her prayers, she lay down and pulled her new gray cloak up to her chin, turned her face toward her new things and fell asleep. Of all those living in the house, Olaf was the most like Asgeir had been. He got up early each morning and took his meal of dried reindeer meat and sourmilk into the fields and began to work at whatever there was to be done. In the spring, it was he and Hrafn who carried the cows into the homefield. It was he who hitched up the horses to the cart and carried manure out. It was Olaf who dragged the birch sapling over the manure to break it up and mix it with the soil, then Olaf who repaired the fences to keep the cows from eating the new shoots of grass. At sheep shearing time, he found Hrafn in the hills with the sheep, helped him with the shearing, then dragged home the bundles of wool for Maria and Gudrun to wash and comb

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 5522.78 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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