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A Shadow Above

  by Joe Shute

(about 304 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:

a book about the hillforts of England and Wales, has been continuing his work ever since, sifting through the reams of old paperwork and artefacts excavated in the original dig, that Dyer left behind. There are also numerous bones that have been discovered, which are still to be analysed. It had been assumed that Ravensburgh was the fort of a fearsome Iron Age warlord, but Ian Brown believes it far more likely to have belonged to a group of sheep farmers, with its imposing defences as much to protect their livestock from the wolves that roamed the Chilterns, as invading armies. He has not yet been able to establish the exact reason for the name Ravensburgh, which can be roughly translated as ‘town of the ravens’ (‘burg’ denotes a large settlement), but the answer may still be lying in the earth beneath his feet. In 1969, another archaeologist called Barry Cunliffe – who was a supervisor to Ian Brown when he was still a student – began excavating a different hillfort called Danebury, built in Hampshire in the sixth century bc and used until about 100 bc. The dig has continued almost ever since, and in the process, Cunliffe has made an extraordinary discovery. Deep in the ground, in a similar chalk landscape to the one Ravensburgh Castle stands on, are pits that had been dug and deliberately sealed. Currently, 2,400 of the pits have been discovered. Largely, they were used for the storage of grain, but many have also been A scattering of crows that have been perching precariously at the top of a clutch of silver birch, take off in pursuit. That deep sound echoes thrillingly in my ears before the normal dawn murmurings of the forest resume. I never manage to see the raven, and further inside, raptors take over: another sparrowhawk and then later a buzzard gliding silently over a flooded marsh before settling in the upper boughs of a pine. A few miles away on the map is Norley Wood, an inclosure close to the marshes of the Boldre Foreshore and the eighteenth-century shipbuilding village of Buckler’s Hard. In 1811 they decided to create an inclosure protecting 163 acres of Norley Wood’s remaining oak, elm and beech forests. I make for its southern point to a place called Ravensbeck Farm. The farm lies at the end of a road past well-kept gardens of expensive-looking cottages, and bird tables teeming with sparrows whose chirps intersperse with a woman singing opera in her living room. Everything, from front doors to border hedges, appears freshly-painted and clipped, although Ravensbeck Farm at the end offers a different prospect. The farmhouse is brick-built with its walls coloured a pale green wash. Up a muddy path there are large, corrugated cowsheds on one side, and stone troughs on the other sprouting early season English bluebells and daffodils. As I near the front door, I am assailed by a medley of cocker spaniels and sheepdogs yapping and growling. A man wearing a fleece

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 1518.10 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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