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Fall of Giants

  by Ken Follett

(about 1,275 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:

her heart out. How could Fitz be so cruel? Did he really never want to see her again? Or his baby? Did he think that everything that had happened between them could be wiped out by twenty-four pounds a year? Did he really not love her any longer? Had he ever loved her? Was she a fool? She had thought he loved her. She had felt sure that meant something. Perhaps he had been playacting all the time, and had deceived her—but she did not think so. A woman could tell when a man was faking. So what was he doing now? He must be suppressing his feelings. Perhaps he was a man of shallow emotions. That was possible. He might have loved her, genuinely, but with a love that was easily forgotten when it became inconvenient. Such weakness of character might have escaped her notice in the throes of passion. At least his hard-heartedness made it easier for her to bargain. She had no need to think of his feelings. She could concentrate on trying to get the best for herself and the baby. She must always think how Da would have handled things. A woman was not quite powerless, despite the law. Fitz would be worried now, she guessed. He must have expected her to take the offer, or at worst hold out for a higher price; then he would have felt his secret was safe. Now he would be baffled as well as anxious. She had squeezed the trigger. The bang was deafening in the quiet of the forest. The horse leaped forward. The officer fell sideways and hit the ground, but one foot remained caught in a stirrup. The horse dragged him through the undergrowth for a hundred yards, then slowed down and stopped. Grigori listened carefully in case the sound of the shot had attracted anyone else. He heard nothing but a mild evening breeze riffling the leaves. He walked toward the horse. As he got closer he shouldered his rifle and pointed it at the officer, but his caution was unnecessary. The man lay still, face upward, his eyes wide open, his pointed helmet lying beside him. He had cropped blond hair and rather beautiful green eyes. It might have been the man Grigori had seen earlier: he could not be sure. Lev would have known—he would have remembered the horse. Grigori opened the saddlebags. One contained maps and a telescope. The other held a sausage and a hunk of black bread. Grigori was starving. He bit off a piece of the sausage. It was strongly flavored with pepper, herbs, and garlic. The pepper made his cheeks hot and sweaty. He chewed rapidly, swallowed, then stuffed some of the bread into his mouth. The food was so good he could have wept. He stood there, leaning against the side of the big horse, eating as fast as he could, while the man he had killed stared up at him with dead green

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 6372.74 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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