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  by Max Hastings

(about 537 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:

about his friend: “There will be the devil’s own row if I give him anything to do, and yet I should like to do so, as he is clever and brave as a lion. I shall let him come to the front at any rate, and if there is fighting he shall have a place at the forefront of the battle, which will please him and confound his enemies.” Burnaby was coming to Egypt to seek death. Wolseley, whose reputation conferred latitude, was not unwilling to indulge him. The colonel hastened through Cairo, lest a telegram from the War Office demanding his recall should already have been despatched. Arrived at Wadi Halfa on 4 December, he was given the post of inspecting staff officer on a stretch of the Nile. From Dal a week later he wrote to his wife: “I have been very busy… Our work is to spur on all officers and men… it will be very difficult to get more out of them… A strong north wind is blowing today, which helps us much with the boats. I do hope it will continue, as some four hundred and fifty more have to pass through the cataracts very shortly.” By now they knew that Gordon’s plight must be desperate. Yet the army could not advance without its long riverborne train of supplies. Burnaby was grateful to have a role, but he yearned above all things to command troops in an engagement with the enemy. However unsatisfactory might be the turret, shouting: “Mother, I’m burning, I’m burning, I’m burning…” He ripped away his radio lead, lurched off the turret onto the hull, and rolled in flames to the ground, throwing himself frantically hither and thither in the sand, seeking to put out the fires enveloping his body, while tanks manoeuvred around him and more shells exploded overhead. He crawled frantically out of the path of an oncoming tank. The rags of his charred clothes had fallen off. He saw commanders peering down aghast at his tortured figure, almost naked save for boots. The battalion commander’s tank stopped beside him. The colonel leaned out: “Kahalani, what’s happened?” Kahalani shrugged: “Watch out. Enemy tanks there.” In his agony he started to run, shreds of charred skin dangling from his hands and body. Seeing the tank of a comrade, a young lieutenant, he clambered onto the hull, crawled into the turret and pleaded: “Ilan, get me out of here fast.” As the tank lurched towards the rear, the loader helped Kahalani remove the tatters of his clothing, including boots that were still smouldering. He was left wearing only a wristwatch. Ilan stopped by a brigade headquarters jeep and urged its driver to take the wounded man to the rear. Officers gazed in mute dismay at this roasted figure. It was an agony to Kahalani to use his ruined hands to hold on to the vehicle as it bumped over the sand, wisps of skin flapping in the breeze. A helicopter finally deposited

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 2685.18 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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