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The City of Ember

  by Jeanne DuPrau

(about 241 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:

people to leave this place, is this the way they will come?” I asked our pilot, who has a kind face. He said yes. “But how will they know there’s a way out, if no one tells them?” I said. “How will they know what to do?” “They’re going to have instructions,” said the pilot. “They won’t be able to get at the instructions until the time is right. But when they need them, the instructions will be there.” “But what if they don’t find them? What if they never come out again?” “I think they will. People find a way through just about anything.” That was all he would say. I am writing these notes while our pilot loads the boat. I hope he doesn’t notice. “It ends there,” said Lina, looking up. “He must have noticed,” said Doon. “Or she was afraid he would, so she decided to hide it instead of taking it with her.” “She must have hoped someone would find it.” “Just as we did.” He pondered. “But we might not have, if it hadn’t been for Poppy.” “No. And we wouldn’t have known that we came from here.” The fiery circle had moved up in the sky now, and the air was so warm that they took off their coats. Absently, Doon dug his finger into the ground, which was soft and crumbly. “But what was the disaster that happened in this place?” he said. “It doesn’t look ruined to me.” “It must have cracked, threadbare things that had been patched and repaired dozens or hundreds of times. People in Ember rarely threw anything away. They made the best possible use of what they had. In Lina’s apartment, layers of worn rugs and carpets covered the floor, making it soft but uneven underfoot. Against one wall squatted a sagging couch with round wooden balls for legs, and on the couch were blankets and pillows, so many that you had to toss some on the floor before you could sit down. Against the opposite wall stood two wobbly tables that held a clutter of plates and bottles, cups and bowls, unmatching forks and spoons, little piles of scrap paper, bits of string wound up in untidy wads, and a few stubby pencils. There were four lamps, two tall ones that stood on the floor and two short ones that stood on tables. And in uneven lines up near the ceiling were hooks that held coats and shawls and nightgowns and sweaters, shelves that held pots and pans, jars with unreadable labels, and boxes of buttons and pins and tacks. Where there were no shelves, the walls had been decorated with things of beauty—a label from a can of peaches, a few dried yellow squash flowers, a strip of faded but still pretty purple cloth. There were drawings, too. Lina had done the drawings out of her imagination. They showed a city that looked somewhat like Ember, except that its buildings were lighter and taller

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 1205.60 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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