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The Borrowers

  by Mary Norton

(about 139 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:

when?” “How should I know?” said Pod. “It doesn’t say when,” said Arrietty. “But,” exclaimed Homily, “it might have been weeks ago!” “It might,” said Pod. “Long enough anyway for him to want her back.” “Oh,” cried Homily, “all those poor little children!” “They’re growing up now,” said Pod. “But something must have happened to her!” exclaimed Homily. “Yes,” said Pod. He turned to Arrietty. “See what I mean, Arrietty, about those fields?” “Oh, Pod,” said Homily, her eyes ful of tears, “I don’t suppose none of us’ll ever see poor Lupy again!” “Wel , we wouldn’t have anyway,” said Pod. “Pod,” said Homily soberly, “I’m frightened. Everything seems to be happening at once. What are we going to do?” “Wel ,” said Pod, “there’s nothing we can do tonight. That’s certain. But have a bit of supper and a good night’s rest.” He rose to his feet. “Oh, Arrietty,” wailed Homily suddenly, “you naughty wicked girl! How could you go and start al this? How could you go and talk to a human bean? If only—” “I wasseen,’” cried Arrietty. “I couldn’t help beingseen.’ Papa wasseen.’ I don’t think it’s all as awful as you’re trying to make out. I don’t think human beans are al that bad—” “They’re bad and they’re good,” said Pod; “they’re honest and they’re artfulit’s just as it takes them at the moment. And animals, if they could talk, would say the same. Steer clear of them—that’s what I’ve always been amongst the green blades. As she parted them gently with her bare hands, drops of water plopped on her skirt and she felt the red shoes become damp. But on she went, pul ing herself up now and again by rooty stems into this jungle of moss and woodviolet and creeping leaves of clover. The sharp-seeming grass blades, waist high, were tender to the touch and sprang back lightly behind her as she passed. When at last she reached the foot of the tree, the bird took fright and flew away and she sat down suddenly on a gnarled leaf of primrose. The air was fil ed with scent. “But nothing will play with you,” she thought and saw the cracks and furrows of the primrose leaves held crystal beads of dew. If she pressed the leaf these rolled like marbles. The bank was warm, almost too warm here within the shelter of the tall grass, and the sandy earth smelled dry. Standing up, she picked a primrose. The pink stalk felt tender and living in her hands and was covered with silvery hairs, and when she held the flower, like a parasol, between her eyes and the sky, she saw the sun’s pale light through the veined petals. On a piece of bark she found a wood louse and she struck it lightly with her swaying flower. It curled immediately and became a ball, bumping softly away downhill in amongst the grass roots. But she knew about wood lice

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 695.58 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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