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An Acceptable Time

  by Madeleine L’Engle

(about 318 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:

Polly’s. “There is bad damage there. The Ancient Wolf might have been able to repair the hurt. I will do what I can, but it will not be enough.” “But the bishop’s heart—” “Bishop’s heart is only old, and he is not used to being in the middle of a battle. But this—” Slowly he removed his hand from Zachary’s chest. “This demands skills I do not yet have. But perhaps we should not take hope away from him.” “What’s he saying?” Zachary demanded. “I wish he’d slow down.” Polly replied carefully, “He says that your heart has damage, as you know, and that it will not be easy to fix.” “Can he fix it?” “He will do his best.” Zachary moaned. Put his face in his hands. When he looked at Polly, his eyes were wet. “I want him to be able to fix—” “He will do his best.” Polly tried to sound reassuring, but she was getting impatient. Cub said, “Each day I will work on the strangeness I feel within his heart. The rhythms are playing against each other. There is no harmony.” “What?” Zachary demanded. “He will work with you every day,” Polly said. “He really is a healer, Zachary. He will do everything he can.” Cub frowned with worry. “Perhaps if Karralys—” He looked at his hands, flexing the fingers. “Now I must go see to the others who have been hurt.” “What do you think?” There was renewed eagerness in Zachary’s voice. “I’d be walked through an orchard, fallen apples red and cidery on the ground, crossed a stone wall, and wandered on into a small wood. The path was carpeted with leaves, red, orange, gold, giving off a rich, earthy smell. Polly scuffed along, pushing the toes of her running shoes through the lavish brightness. It was her first New England autumn and she was exhilarated by the colors drifting from the trees, dappling her hair with reflected amber and bronze. The sun shone with a golden haze through a muted blue sky. Leaves whispered to the ground. The air was crisp, but not cold. She hummed with contentment. The trees were young, most no more than half a century old, with trunks still slender, completely unlike the great Spanish-moss-hung water and live oaks she had left less than a week before. Apples from a wild seedling had dropped onto the path. She picked one up, russet and a bit misshapen. But the fruit was crisp and juicy and she wandered on, eating, and spitting out the seeds. Now the path led her toward a forest of much older trees, towering maples, spruce, and pine. Reaching above them all was an ancient oak, with large, serrated leaves of a deep bronze color, many still clinging tenaciously to the branches. It was very different from the Southern oaks she was used to, and she had not recognized it as one until she learned her mother and uncles had always called it the “Grandfather Oak

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 1592.38 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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