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The Past Through Tomorrow

  by Robert A. Heinlein

(about 1,217 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:

asked to be excused; I was humiliated by the assumption that I couldn’t fly without Mr. Jefferson Hardesty but did not wish to discuss it. Daddy called after me, “Don’t be late for dinner,” and Mother said, “Now, Jacob—” and to me, “Fly until you’re tired, dear; you haven’t been getting much exercise. I’ll leave your dinner in the warmer. Anything you’d like?” “No, whatever you dial for yourself.” I just wasn’t interested in food, which isn’t like me. As I headed for BatsCave I wondered if I had caught something. But my cheeks didn’t feel warm and my stomach wasn’t upset even if I wasn’t hungry. Then I had a horrible thought. Could it be that I was jealous? It was unthinkable. I am not romantic; I am a career woman. Jeff had been my partner and pal, and under my guidance he could have become a great spaceship designer, but our relationship was straightforward … a mutual respect for each other’s abilities, with never any of that lovey-dovey stuff. A career woman can’t afford such things — why look at all the professional time Mother had lost over having me! No, I couldn’t be jealous; I was simply worried sick because my partner had become involved with a groundhog. Jeff isn’t bright about women and, besides, he’s never been to Earth and has illusions about it. If she lured him Earthside, Jones & Hardesty was finished. And somehow, “Jones & Company” wasn’t a substitute: the _Prometheus_ might never be built. I was reserve officer; he needed to catch up on his drinking. Too bad, thought Wingate, that the cruise should have touched at Venus-‘All out! All out! Up aaaall you idlers! Show a leg there! Show a leg and grab a sock!’ The raucous voice sawed its way through Wingate’s aching head. He opened his eyes, was blinded by raw white light, and shut them hastily. But the voice would not let him alone. ‘Ten minutes till breakfast,’ it rasped. ‘Come and get it, or we’ll throw it out!’ He opened his eyes again, and with trembling willpower forced them to track. Legs moved past his eyes, denim clad legs mostly, though some were bare-repulsive hairy nakedness. A confusion of male voices, from which he could catch words but not sentences, was accompanied by an obbligato of metallic sounds, muffled but pervasive-shrrg, shrrg, thump! Shrrg, shrrg, thump! The thump with which the cycle was completed hurt his aching head but was not as nerve stretching as another noise, a toneless whirring sibilance which he could neither locate nor escape. The air was full of the odor of human beings, too many of them in too small a space. There was nothing so distinct as to be fairly termed a stench, nor was the supply of oxygen inadequate. But the room was filled with the warm, slightly musky smell of bodies still heated by bedclothes, bodies not dirty but not freshly washed. It was oppressive and unappetizing-in his present state almost nauseating

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 6083.10 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.

similar books by different authors

other books by Robert A. Heinlein

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