The Emotional Arcs of Stories Are Dominated by Six Basic Shapes

The emotional arcs of stories are dominated by six basic shapes
Andrew J. Reagan,1 Lewis Mitchell,2 Dilan Kiley,1 Christopher M. Danforth,1 and Peter Sheridan Dodds1
1
arXiv:1606.07772v2 [cs.CL] 6 Jul 2016
Department of Mathematics & Statistics, Vermont Complex Systems Center,

Computational Story Lab, & the Vermont Advanced Computing Core,
The University of Vermont, Burlington, VT 05401
2
School of Mathematical Sciences, The University of Adelaide, SA 5005 Australia
(Dated: July 8, 2016)
Advances in computing power, natural language processing, and digitization of text now make it
possible to study our a cultures evolution through its texts using a big data lens. Our ability to
communicate relies in part upon a shared emotional experience, with stories often following distinct
emotional trajectories, forming patterns that are meaningful to us. Here, by classifying the emotional arcs for a filtered subset of 1,737 stories from Project Gutenbergs fiction collection, we find
a set of six core trajectories which form the building blocks of complex narratives. We strengthen
our findings by separately applying optimization, linear decomposition, supervised learning, and
unsupervised learning. For each of these six core emotional arcs, we examine the closest characteristic stories in publication today and find that particular emotional arcs enjoy greater success, as
measured by downloads.
I.
INTRODUCTION
The power of stories to transfer information and define

our own existence has been shown time and again [1
5]. We are fundamentally driven to find and tell stories,
likened to Pan Narrans or Homo Narrativus. Stories are
encoded in art, language, and even in the mathematics of
physics: We use equations to represent both simple and
complicated functions that describe our observations of
the real world. In science, we formalize the ideas that
best fit our experience with principles such as Occams
Razor: The simplest story is the one we should trust. We
also tend to prefer stories that fit into the molds which
are familiar, and reject narratives that do not align with
our experience [6].
We seek to better understand stories that are captured and shared in written form, a medium that since
inception has radically changed how information flows
[7]. Without evolved cues from tone, facial expression, or
body language, written stories are forced to capture the
entire transfer of experience on a page. A often integral
part of a written story is the emotional experience that
is evoked in the reader. Here, we use a simple, robust
sentiment analysis tool to extract the reader-perceived
emotional content of written stories as they unfold on
the page.
We objectively test the theories of folkloristics [8, 9],
specifically the commonality of core stories within societal boundaries [4, 10]. A major component of folkloristics is the study of society and culture through literary
analysis. This is sometimes referred to as narratology,
which at its core is a series of events, real or fictional, presented to the reader or the listener, who further
define narrative and plot [11]. In our present treatment,
we consider the plot as the backbone of events that
occur in a chronological sequence. We first find an analogous definition in Aristotles theory of the three act
plot structure: A central conflict emerges in act one,
followed by two major turning points in acts two and
three before concluding with a final resolution. While

the plot captures the mechanics of a narrative and the
structure encodes their delivery, in the present work we
examine the emotional arc that is invoked through the
words used. The emotional arc of a story does not give us
direct information about the plot or the intended meaning of the story, but rather exists as part of the whole
narrative. This distinction between the emotional arc
and the plot of a story is one point of misunderstanding
in other work [12]. Through the identification of motifs
[13], narrative theories [14] allow us to analyze, interpret,
describe, and compare stories across cultures and regions
of the world [15]. We show that automated extraction of
emotional arcs is not only possibly, but can test previous
theories and provide new insights with the potential to
quantify unobserved trends as the field transitions from
data-scarce to data-rich [16, 17].
There have been various hand-coded attempts to enumerate and classify the core types of stories from their
plots, including models that generalize broad categories
and detailed classification systems. We consider a range
of these theories in turn while noting that plot similarities
do not necessitate a concordance of emotional arcs.
Three plots: In his 1959 book, Foster-Harris contends that there are three basic patterns of plot
(extending from the one central pattern of conflict):
the happy ending, the unhappy ending, and the
tragedy [18]. In these three versions, the outcome
of the story hinges on the nature and fortune of
a central character: virtuous, selfish, or struck by
fate, respectively.
Seven plots: Often espoused as early as elementary
school in the United States, we have the notion
that plots revolve around the conflict of an individual with either (1) him or herself, (2) nature, (3)
another individual, (4) the environment, (5) technology, (6) the supernatural, or (7) a higher power
[19].
2
Seven plots: Representing over three decades of
work, Christopher Bookers The Seven Basic Plots:
Why we tell stories describes in great detail seven
narrative structures: [20]
Overcoming the monster (e.g., Beowulf ).
Base text from

Project Gutenberg
Uniform length segments of the text
Rags to riches (e.g., Cinderella).

The quest (e.g., King Solomons Mines).
Voyage and return (e.g., The Time Machine).
Comedy (e.g., A Midsummer Nights Dream).
sliding window across text
Tragedy (e.g., Anna Karenina).

Rebirth (e.g., Beauty and the Beast).
Hedonometric
analysis
In addition to these seven, Booker contends that

the unhappy ending of all but the tragedy are also
possible.
Twenty plots: In 20 Master Plots, Ronald Tobias
proposes plots that include quest, underdog,
metamorphosis, ascension, and descension
[21].
Thirty-six plots: In a translation by Lucille Ray,
Georges Polti attempts to reconstruct the 36 plots
that he posits Gozzi originally enumerated [22].
These are quite specific and include rivalry of kinsmen, all sacrificed for passion, both involuntary
and voluntary crimes of love (with many more on
this theme), pursuit, and falling prey to cruelty
of misfortune.
The rejected masters thesis of Kurt Vonnegutwhich
he personally considered his greatest contribution
defines the emotional arc of a story on the Beginning
End and Ill FortuneGreat Fortune axes [23]. Vonnegut finds a remarkable similarity between Cinderella
and the origin story of Christianity in the Old Testament (see Fig. S18), leading us to search for all such
groupings. In a recorded lecture available on YouTube
[24], Vonnegut asserted:
There is no reason why the simple shapes of
stories cant be fed into computers, they are
beautiful shapes.
We proceed as follows. We first introduce our methods
in Section II, we then discuss the combined results of each
method in Section III, and we present our conclusions in
Section IV.
Average
happiness
% of text
FIG. 1:
Schematic of how we compute emotional arcs.
The indicated uniform length segments (gap between samples) taken from the text form the sample with fixed window
size set at Nw = 10, 000 words. The segment length is thus
Ns = (N (Nw +1))/n for N the length of the book in words,
and n the number of points in the time series. Sliding this
fixed size window through the book, we generate n sentiment
scores with the Hedonometer, which comprise the emotional
arc [27].
chosen for lexical coverage and its ability to generate of

meaningful word shift graphs, using 10,000 words to generate meaningful sentiment scores [25, 26]. We emphasize
that dictionary-based methods for sentiment analysis can
perform worse than random on individual sentences [26],
a misunderstanding of similar efforts [12]. In Fig. 2, we
show the emotional arc of Harry Potter and the Deathly
Hallows, the final book in the popular Harry Potter series
by J.K. Rowling. While the plot of the book is nested and
complicated, the emotional arc associated with each subnarrative is clearly visible. We analyze the emotional arcs
corresponding to complete books, and to limit the conflation of multiple core emotional arcs we restrict our analysis to shorter books (by selecting a maximum number
of words when building our filter). Further details of the
emotional arc construction can be found in Appendix A.
B.
II.
A.
Project Gutenberg Corpus
METHODS
Emotional arc construction
To generate emotional arcs, we analyze the sentiment

of 10,000 word windows, which we slide through the text
(see Fig. 1). We rate the emotional content of each window using our Hedonometer with the labMT dataset,
For a suitable corpus we draw on the freely available

Project Gutenberg data set [29]. We apply rough filters to the entire collection in an attempt to obtain a
set of 1,737 books that represent English works of fiction. Two slices of the data are shown in Fig. S1. We
select for only English books, with total words between
10,000 and 200,000, with unique words between 1,000
FIG. 2: Annotated emotional arc of Harry Potter and the Deathly Hallows, by J.K. Rowling, inspired by the illustration
made by Medaris for The Why Files [28]. The entire seven book series can be classified as a Rags to riches and Kill the
monster story, while the many sub plots and connections between them complicate the emotional arc of each individual book.
The emotional arc shown here, captures the major highs and lows of the story, and should be familiar to any reader well
acquainted with Harry Potter. Our method does not pick up emotional moments discussed briefly, perhaps in one paragraph
or sentence (e.g., the first kiss of Harry and Ginny). We provide interactive visualizations of all Project Gutenberg books at
http://hedonometer.org/books/v3/1/ and a selection of classic and popular books at http://hedonometer.org/books/v1/.
and 18,000, and with more than 150 downloads from

the Project Gutenberg website. Beyond these broad filters, we also remove dictionaries and transcriptions by
the Human Genome Project (all three copies of the 24
books). We provide a list of the book IDs which are
included for download in the online appendices at http:
//compstorylab.org/share/papers/reagan2016b/.
C.
Principal Component Analysis (SVD)
We use the standard linear algebra technique Singular

Value Decomposition (SVD) to find a decomposition of
stories onto an orthogonal basis of emotional arcs. Starting with the sentiment time series for each book bi as row
i in the matrix A, we apply the SVD to find
A = U V T = W V T ,
(1)
where now U contains the projection of each sentiment

time series onto each of the right singular vectors (rows
of V T , eigenvectors of AT A), which have singular values
given along the diagonal of , with W = U . Different
intuitive interpretations of the matrices U, , and V T
are useful in the various domains in which the SVD is
applied; here, we focus on right singular vectors as an
orthonormal basis for the sentiment time series in the
rows of A, which we will refer to as the modes. We
combine and U into the single coefficient matrix W
for clarity and convenience, such that W now represents

the mode coefficients.
In Fig. 3 we show the leading 12 modes in both the
weighted (dark) and un-weighted (lighter) representation. In total, the first 12 modes explain 80% and 94%
of the variance from the mean centered and raw time
series, respectively. The modes are from mean-centered
emotional arcs such that the first SVD mode need not
extract the average from the labMT scores nor the positivity bias present in language [25]. The coefficients
for each mode within a single emotional arc are both
positive and negative, so we need to consider both the
modes and their negation. We can immediately recognize the familiar shapes of core emotional arcs in the
first four modes, and compositions of these emotional
arcs in modes 5 and 6. We observe Rags to riches
(mode 1, positive), Tragedy or Riches to rags (mode
1, negative), Vonneguts Man in a hole (mode 2, positive), Icarus (mode 2, negative), Cinderella (mode 3,
positive), Oedipus (mode 3, negative). We choose to
include modes 712 only for completeness, as these high
frequency modes have little contribution to variance and
do not align with core emotional arc archetypes (more
below).
We emphasize that by definition of the SVD, the mode
coefficients in W can be either positive and negative, such
that the modes themselves explain variance with both the
positive and negative version. In the right panels of each
4
Mode 1
Mode 2
Mode 3
0.1
0.5
0.0
-0.5
0.1
Mode 4
Mode 5
Mode 6
0.1
0.5
0.0
-0.5
Right
singular
vectors
(modes)
0.1
Mode 7
Mode 8
Mode
coefficients
from W
Mode 9
0.1
0.5
0.0
-0.5
0.1
Mode 10
Mode 11
Mode 12
0.1
0.5
0.0
-0.5
0.1
0
20
40
60
80
100
20
40
60
80
100
20
40
60
80
100
Percentage of book
FIG. 3: Top 12 modes from the Singular Value Decomposition of 1,737 Project Gutenberg books. We show in a lighter color
modes weighted by their corresponding singular value, where we have scaled the matrix such that the first entry is 1 for
comparison (for reference, the largest singular value is 27.3). The mode coefficients normalized for each book are shown in the
right panel accompanying each mode, in the range -1 to 1, with the Tukey box plot.
mode in Fig. 3 we project the 1,737 stories onto each of

first six modes and show the resulting coefficients. While
none are far from 0 (as would be expected), mode 1 has
a mean slightly above 0 and both modes 3 and 4 have
means slightly below 0. To sort the books by their coefficient for each mode, we normalize the coefficients within
each book in the rows of W to sum to 1, accounting for
books with higher total energy, and these are the coefficients shown in the right panels of each mode in Fig. 3.
In Appendix B, we provide supporting, intuitive details
of the SVD method, as well as example emotional arc
reconstruction using the modes (see Figs. S3S5). As
expected, less than 10 modes are enough to reconstruct
the emotional arc to a degree of accuracy visible to the

eye.
We show labeled examples of the emotional arcs closest
to the top 6 modes in Figs. 4 and S2. We present both
the positive and negative modes, and the stories closest to
each by sorting on the coefficient for that mode. For the
positive stories, we sort in ascending order, and vice versa. Mode 1, which encompasses both the Rags to riches
and Tragedy emotional arcs, captures 30% of the variance of the entire space. We examine the closest stories
to both sides of modes 13, and direct the reader to Fig.
S2 for more details on the higher order modes. The two
stories that have the most support from the Rags to
5
0.25
SV 1
Closest 20 Books
0.20
0.15
SV 2
SV 3
0.10
Modespace
havg 0.05
0.00
0.05
0.10
0.15
0.20
% of Book
10
30
50
70
90
% of Book
10
30
50
70
90
% of Book
10
30
50
70
90
Top Stories:
Top Stories:
Top Stories:
1: Alices Adventures Under Ground : Bein... (19002, 333)

http://hedonometer.org/books/v3/19002/
2: Dreams (1439, 169)
3: The Human Comedy: Introductions and A... (1968, 175)
4: The Ballad of Reading Gaol (301, 227)
5: The History Of The Decline And Fall O... (25717, 1697)
1: Typhoon (1142, 219)

2: Teddy Bears (51199, 944)
3: The Autobiography of St. Ignatius (24534, 201)
4: The Magic of Oz (419, 186)
5: Fundamental Principles of the Metaphy... (5682, 1148)
1: The Consolation of Philosophy (14328, 1188)

2: The Scarecrow of Oz (957, 162)
3: A Christmas Carol (24022, 188)
4: Sophist (1735, 162)
5: A Christmas Carol in Prose; Being a G... (46, 4602)
0.25
(SV 1)
0.20
(SV 2)
(SV 3)
0.15
0.10
Modespace
havg 0.05
0.00
0.05
0.10
0.15
0.20
10
30
50
70
% of Book
90
10
30
50
70
% of Book
90
10
30
50
70
% of Book
90
Top Stories:
Top Stories:
Top Stories:
1: A Primary Reader: Old-time Stories, F... (7841, 307)

2: The House of the Vampire (17144, 188)
3: Savrola: A Tale of the Revolution in L... (50906, 682)
4: Romeo and Juliet (1777, 186)
5: The Dance (by An Antiquary): Historic ... (17289, 222)
1: The Yoga Sutras of Patanjali: The Boo... (2526, 338)

2: Stories from Hans Andersen (17860, 262)
3: How to Read Human Nature: Its Inner S... (41501, 278)
4: The Rome Express (11451, 162)
5: Chamberss Journal of Popular Literat... (51100, 312)
1: The Wonder Book of Bible Stories (16042, 183)

2: The Serpent River (50923, 306)
3: A Hero of Our Time (913, 337)
4: On the Nature of Things (785, 857)
5: The Cosmic Computer (20727, 221)
FIG. 4: First 3 SVD modes and their negation with the closest stories to each. To locate the emotional arcs on the same scale
as the modes, we show the modes directly from the rows of V T and weight the emotional arcs by the inverse of their coefficient in
W for the particular mode. The closest stories shown for each mode are those stories with emotional arcs which have the greatest
coefficient in W . In parenthesis for each story is the Project Gutenberg ID and the number of downloads from the Project
Gutenberg website, respectively. Links below each story point to an interactive visualization on http://hedonometer.org
which enables detailed exploration of the emotional arc for the story.
riches mode are Alices Adventures Under Ground and

Dreams. Among the most categorical tragedies we find
A Primary Reader and The House of the Vampire. The
top 5 also includes perhaps the most famous tragedy:
Romeo and Juliet by William Shakespeare. Mode 2 is
the Man in a hole emotional arc, and we find the stories which most closely follow this path to be Typhoon
and Teddy Bears. The negation of mode 2 most closely resembles the emotional arc of the Icarus narrative.
For this emotional arc, the most characteristic stories
are The Yoga Sutras of Patanjali and Stories from Hans
Andersen. Mode 3 is the Cinderella emotional arc, and
includes The Consolation of Philosophy and The Scarecrow of Oz. The negation of Mode 3, which we refer
to as Oedipus, is found most characteristically in The

Wonder Book of Bible Stories, The Serpent River, and A
Hero of Our Time. We also note that the spread of the
stories from their core mode increases strongly for the
higher modes.
III.
RESULTS
We obtain a collection of 1,737 books that are mostly, but not all, fictional stories by using metadata from
Project Gutenberg to construct a rough filter. Using
principal component analysis, we find broad support for
six emotional arcs:
6
Mode
SV 1
-SV 1
SV 2
-SV 2
SV 3
-SV 3
SV 4
-SV 4
SV 5
-SV 5
Mode Arc
Nm
267
440
219
167
104
109
108
47
48
44
Nm /N
15.4%
25.4%
12.7%
9.7%
6.0%
6.3%
6.2%
2.7%
2.8%
2.5%
DL Median H
289.0
337.5
327.0
297.0
298.0
303.0
311.5
286.0
280.0
280.5
DL Mean O
638.0
633.6
652.3
540.2
896.3
803.9
823.5
790.6
397.1
452.0
DL Variance
2176764
907943
1122421
554142
7829052
2839614
2728083
1637200
146597
188580
% > Average
20.6%
25.0%
21.9%
16.8%
22.1%
26.6%
26.9%
19.1%
8.3%
13.6%
Download Distribution
FIG. 5: Download statistics for stories whose SVD Modes comprise more than 2.5% of books, for N the total number of books
and Nm the number corresponding to the particular mode. Modes SV 3 through -SV 4 (both polarities of modes 3 and 4)
exhibit a higher average number of downloads and more variance than the others. Mode arcs are rows of V T and the download
distribution is show in log10 space from 150 to 30,000 downloads.
Rags to riches (rise).

Tragedy, or Riches to rags (fall).
Man in a hole (fallrise).
Icarus (risefall).
Cinderella (risefallrise).
Oedipus (fallrisefall).
Importantly, we also find these emotional arcs using two
other methods: As clusters in a hierarchical clustering
using Wards algorithm and as clusters using unsupervised machine learning.
We again find the first four of these six arcs appearing
among the eight most different clusters from a hierarchical clustering (Fig. S9). The clustering method groups
stories with a Man in a hole emotional arc for a range of
different variances, separate from the other arcs, in total
these clusters (Panels E, F, and G of Fig. S9) account
for 23% of the Gutenberg corpus. The remainder of the
stories have emotional arcs that are clustered among the
Icarus arc, Rags to riches arc, and the Tragedy arc.
A detailed analysis of the results from hierarchical clustering can be found in Appendix C, and this result agrees
with other attempts that use only hierarchical clustering
[12].
Finally, we apply Kohonens Self-Organizing Map
(SOM) and find these core arcs from unsupervised
machine learning on the emotional arcs (Fig. S11 and
Appendix D). On the two dimensional component plane,
the prescribed network topology, we find three spatially coherent groups. These spatial groups are comprised
of stories with core emotional arcs of differing variance.
Grouping together the nine most active nodes, we find
the Rags to riches arc accounts for 19% of the corpus,
the Tragedy arc with 6%, the Icarus arc with 12%
across three nodes, and the Man in a hole arc with 3%
on one node.
There are many possible emotional arcs in the space
that we consider. To demonstrate that these specific
arcs are uniquely compelling as stories written by and

for homo narrativus, we compare the emotional arcs of
word salad versions for each book with randomly permuted word locations. An example of the emotional arc
for a single book is shown in Fig. S12, along with 10 word
salad versions. We re-run the SVD, hierarchical clustering, and unsupervised machine learning on the Gutenberg Corpus with the word salad version of each book
and verify that the emotional arcs of real stories are not
simply an artifact. The singular value spectrum from
the SVD is flatter, with higher-frequency modes appearing more quickly, and in total representing 45% of the
total variance present in real stories (see Figs. S14 and
S13). Hierarchical clustering generates less distinct clusters with lower linkage cost for the emotional arcs from
word salad books, and the winning node vectors on a
self-organizing map lack coherent structure (see Figs. S15
and S17 in Appendix E).
To examine how the emotional trajectory impacts success, in Fig. 5 we examine the downloads for all of the
books that are most similar to each SVD mode (for additional modes, see Fig. S19 in Appendix F). We find that
the first four modes, which contain the greatest total
number of books, are not the most popular. Both polarities of modes 3 and 4 have markedly higher downloads,
and somewhat higher variance. The success of the stories
underlying these emotional arcs shows that the emotional experience of readers strongly affects how stories are
shared. We find the Cinderella (SV 3), Oedipus (SV 3), two sequential Man in a hole arcs (SV 4), and
Cinderella with a tragic ending (-SV 4) are the most
successful emotional arcs.
IV.
CONCLUSION
Using three distinct methods, we have demonstrated

that there is strong support for six core emotional arcs.
Our methodology brings to bear a cross section of data
science tools with a knowledge of the potential issues that
7
each present. By considering the results of each tool in
support of each other we are able to confirm our findings.
We have also shown that consideration of the emotional
arc for a given story is important for the success of that
story.
Our approach could applied in the opposite direction:
namely by beginning with the emotional arc and aiding
in the automatic generation of compelling stories [30].
The emotional arcs of stories may be useful to aid in
constructing arguments [31] and teaching common sense
to artificial intelligence systems [32].
Extensions of our analysis that use a more curated
selection of full-text fiction can answer more detailed
questions about which stories are the most popular
throughout time, and across regions [10]. Automatic extraction of character networks would allow a more
detailed analysis of plot structure for the Project Guten-
berg corpus used here [11, 33, 34]. Bridging the gap
between the full text stories [35] and systems that analyze plot sequences will allow such systems to undertake
studies of this scale [36]. Place could also be used to consider separate character networks through time, and to
help build an analog to Randall Munroes Movie Narrative Charts [37].
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at https://arxiv.org/abs/1512.00531, 2015.
P. S. Dodds, K. D. Harris, I. M. Kloumann, C. A. Bliss,
and C. M. Danforth. Temporal patterns of happiness and
information in a global social network: Hedonometrics
and Twitter. PLoS ONE, 6(12):e26752, 12 2011.
D. J. Tenenbaum, K. Barrett, S. Medaris, and
T. Devitt. In 10 languages, happy words beat sad
We are producing data at an ever increasing rate,

including rich sources of stories written to entertain and
share knowledge, from books to television series to news.
Of profound scientific interest will be the degree to which
we can eventually understand the full landscape of human
stories, and data driven approaches will play a crucial
role.
PSD and CMD acknowledge support from NSF Big
Data Grant #1447634.
[16]
[17]
[18]
[19]
[20]
[21]
[22]
[23]
[24]
[25]
[26]
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[33]
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ones. http://whyfiles.org/2015/in-10-languages-happywords-beat-sad-ones/, February 2015.

Various. Project Gutenberg.
B. Li, S. Lee-Urban, G. Johnston, and M. Riedl. Story generation with crowdsourced plot graphs. In AAAI,
2013.
F. J. Bex and T. J. Bench-Capon. Persuasive stories for
multi-agent argumentation. In AAAI Fall Symposium:
Computational Models of Narrative, volume 10, page 04,
2010.
M. O. Riedl and B. Harrison. Using stories to teach
human values to artificial agents. 2015.
X. Bost, V. Labatut, and G. Linar`es. Narrative smoothing: dynamic conversational network for the analysis of
tv series plots, 2016.
S. D. Prado, S. R. Dahmen, A. L. C. Bazzan, P. M.
Carron, and R. Kenna. Temporal network analysis of
literary texts, 2016.
A. Nenkova and K. McKeown. A survey of text summarization techniques. In Mining text data, pages 4376.
Springer, Berlin, Germany, 2012.
P. H. Winston. The strong story hypothesis and the
directed perception hypothesis. 2011.
R.
Munroe.
Movie
narrative
charts.
http://xkcd.com/657/, 11 2009.
J. H. Ward Jr. Hierarchical grouping to optimize an
objective function. Journal of the American statistical
association, 58(301):236244, 1963.
S1
Appendix A: Emotional Arc Construction
To generate emotional arcs, we consider many different approaches with the goal of generating time series that
meaningfully reflect the narrative sentiment. In general, we proceed as described in Fig. 1 and consider a method of
breaking up the text as having three (interdependent) parameter choices for a sliding window:
1. Length of the desired sample text.
2. Breakpoint between samples.
3. Overlap of each sample.
These methods vary between rating individual words with no overlap to rating the entire text. To make our choice,
we consider competing two objectives of time series generation: meaningfulness of sentiment scores and increased
temporal resolution of time series. For the most accurate sentiment scores, we can use the entire book. The highest
temporal resolution is possible with a sliding window of length 1, generating time series that have potentially as many
data points as words in the book.
Since our goal is not only the generation of time series, but the comparison of time series across texts, we consider
the additional objective of consistency. We seek time series which are consistent both in the accuracy of the time
series, as well as consistent in the length of the resulting time series. Again these goals are orthogonal, and we note
that our choice here can be tuned to test the sensitivity.
We normalize the length of emotional arcs for books of different length (while using a fixed window size) by varying
the amount that the window needs to move. To make a time series of length l from a book with N words, we fix the
sample length at k and set the overlap of samples to
(N k 1)/l
words. This guarantees that we have temporal resolution l and sample length k for any N > k + l. We do not consider
books with N k + l words.
To generate a sentiment score as in Fig. 1, we use a dictionary based approach for transparency and understanding
of sentiment. We select the LabMT dictionary for robust performance over many corpora and best coverage of word
usage. In particular, we determine a sample T s average happiness using the equation:
PN
havg (T ) =
havg (wi ) fi (T ) X
=
havg (wi ) pi (T ),
PN
i=1 fi (T )
i=1
i=1
(A1)
where we denote each of the N words in a given dictionary as wi , word sentiment scores as havg (wi ), word frequency
PN
as fi (T ), and normalized frequency of wi in T as pi (T ) = fi (T )/ i=1 fi (T ).
We note here for the general case, and additionally specify with the details of each method, that for each emotional
arc we subtract the mean before computing the distance or clustering. To compute the distance between two emotional
arcs, we use the city block distance metric:
D(bi , bj ) = l1
l
X
t=1
|bi (t) bj (t)|.
(A2)
Our null set of emotional arc time series is generated by randomly shuffling the words of each book that we consider.
Other variations on generating this null set include sampling from a phrase-level parse of the book with a Markov
process, using continuous space random walks directly, or shuffling on sentences.
4.5
7.0
5.4
4.0
6.5
5.2
3.5
6.0
3.0
5.5
2.5
2.0
1.5
5.0
4.5
4.0
1.0
3.5
0.5
3.0
0.0
2.5
2
3
log10 (Rank)
5.0
log10 (Length)
log10 (Length)
log10 (Number of downloads)
S2
4.8
4.6
4.4
4.2
4.0
2
3
log10 (Rank)
3.8
2.0
2.5
3.0
3.5
4.0
log10 (Downloads)
4.5
5.0
FIG. S1: Rank-frequency distributions of book downloads and length in the Gutenberg corpus: (A) downloads, (B) book
length in words, and (C) both downloads and length. We filter by both number of downloads and book length to select for
fiction books, with the filters shown as grey boxes in Panels A and B. In Panel C, we plot each of the resulting 1,748 books in
download-length space.
S3
Appendix B: Principal Component Analysis (SVD)
In this section we provide (1) more results from the SVD analysis and (2) a more in-depth, intuitive explanation of
the method.
First we have consider modes 46 and their closest stories in Fig. S2.
0.5
SV 4
Closest 20 Books
0.4
0.3
SV 5
SV 6
0.2
Modespace
havg 0.1
0.0
0.1
0.2
0.3
0.4
% of Book
10
30
50
70
90
% of Book
10
30
50
70
90
% of Book
10
30
50
70
90
Top Stories:
Top Stories:
Top Stories:
1: The Sheik: A Novel (7031, 152)

2: The Golden Key: A Hearts Silent Worship (50909, 290)
3: Notes on Nursing: What It Is, and What... (12439, 203)
4: The Adventures of Tom Sawyer (74, 9454)
5: Tales of Space and Time (27365, 255)
1: Talks To Teachers On Psychology; And ... (16287, 222)

2: Anticipations : Of the Reaction of Mec... (19229, 166)
3: Composition (45410, 616)
4: Hidden Symbolism of Alchemy and the O... (27755, 169)
5: A History of Art for Beginners and St... (24726, 206)
1: The Anatomy of Suicide (50907, 372)

2: The Most Extra Ordinary Trial of Will... (51135, 872)
3: Pictorial Composition and the Critica... (26638, 172)
4: Medieval People (13144, 365)
5: Kants Critique of Judgement (48433, 154)
0.5
(SV 4)
0.4
(SV 5)
(SV 6)
0.3
0.2
Modespace
havg 0.1
0.0
0.1
0.2
0.3
0.4
10
30
50
70
% of Book
90
10
30
50
70
% of Book
90
10
30
50
70
% of Book
90
Top Stories:
Top Stories:
Top Stories:
1: The Idle Thoughts of an Idle Fellow (849, 177)

2: Dorothy and the Wizard in Oz (420, 385)
3: Orthodoxy (130, 613)
4: Cavendish on Whist: 18th edition (51039, 422)
5: Orthodoxy (16769, 410)
1: The New Freedom: A Call For the Emanci... (14811, 243)

2: The Economic Consequences of the Peace (15776, 655)
3: Astounding Stories of Super-Science J... (29198, 172)
4: Cookery and Dining in Imperial Rome (29728, 664)
5: Tom Browns School Days (1480, 246)
1: Astounding Stories, July, 1931 (31168, 180)

2: Rainbow Valley (5343, 257)
3: Tarzan the Terrible (2020, 185)
4: A Sportsmans Sketches: Works of Ivan ... (8597, 152)
5: Hard Times (786, 1830)
FIG. S2: SVD modes 46 (and their negation) with closest stories. First 3 SVD modes and their negation with the closest
stories to each. Again, to show the emotional arcs on the same scale as the modes, we show the modes directly from the rows
of V T and weight the emotional arcs by the inverse of their coefficient in W for the particular mode. Shown in parenthesis for
each story is the Project Gutenberg ID and the number of downloads from the Project Gutenberg website, respectively. Links
below each story point to an interactive visualization on http://hedonometer.org which enables detailed exploration of the
emotional arc for the story.
In an effort to develop a better intuition for the results of the principal component analysis by way of SVD, we plot
Eq. 1 along with representations of the matrices in Fig. S3.
Further, we considered in Eq. 1 the mode coefficient in the matrix W , and in Fig S4 we plot the second line of the
equation with W :
With A written as W V T , the coefficients for each mode (row of V T ) for a book i are given as the rows of W . To
reconstruct the emotional arc of book i, using mode j from V T , we simply multiply W [i, j] V T [j, :]. Shown below in
Fig. S5, we built the emotional arc for an example story using only the first mode through the first 12 modes.
S4
FIG. S3: Schematic of the Singular Value Decomposition applied to emotional arcs of Project Gutenberg books. Shown in A
are 10 randomly chosen emotional arcs, in U a spy of the matrix, in the decreasing singular values, and in V T sinusoidal
modes. We emphasize that this representation is purely for intuition, as only U is a image of the actual matrix, and A has only
10 of the 1,737 books.
FIG. S4: Schematic of the Singular Value Decomposition applied to emotional arcs of Project Gutenberg books, with W = U
containing the mode coefficients. Again shown in A are 10 randomly chosen emotional arcs, in W a spy of the matrix used
in the analysis, and in V T representative sinusoidal modes.
S5
0.15
Mode space havg
0.10
0.05
0.00
0.05
0.10
1 Mode Approx.
2 Mode Approx.
3 Mode Approx.
0.15
0.15
Mode space havg
0.10
0.05
0.00
0.05
0.10
4 Mode Approx.
5 Mode Approx.
6 Mode Approx.
0.15
0.15
Mode space havg
0.10
0.05
0.00
0.05
0.10
7 Mode Approx.
8 Mode Approx.
9 Mode Approx.
0.15
0.15
Mode space havg
0.10
0.05
0.00
0.05
0.10
0.15
10 Mode Approx.
0
20
40
60
Percentage of book
80
11 Mode Approx.
1000
20
40
60
Percentage of book
80
12 Mode Approx.
1000
20
40
60
80
100
Percentage of book
FIG. S5: Reconstruction of the emotional arc from Alices Adventures Under Ground, by Lewis Carroll. The addition of more
modes from the SVD more closely reconstructs the detailed emotional arc. This book is well represented by the first mode
alone, with only minor corrections from modes 2-11, as we should expect for a book whose emotional arc so closely resembles
the Rags to Riches arc.
S6
Appendix C: Hierarchical Clustering
We use Wards method to generate a hierarchical clustering of stories, which proceeds by minimizing variance
between clusters of books [38]. We again use the mean-centered books and the distance function given in Eq. A2 to
generate the distance matrix.
We show a dendrogram of the 60 clusters with highest linkage cost in Fig. S6. A characteristic book from each
cluster is shown on the right by sorting the books within each cluster by the total distance to other books in the
cluster (e.g., considering each intra-cluster collection as a fully connected weighted network, we take the most central
node), and in parenthesis the number of books in that cluster. In other words, we label each cluster by considering
the network centrality of the fully connected cluster with edges weighted by the distance between stories. By cutting
the dendrogram in Fig. S6 at various costs we are able to extract clusters of the desired granularity. For the cuts
labeled 0, 1, and 2, we show these clusters in Figs. S7, S8, and S9.
The final linkage in the hierarchical clustering combines the two clusters in Fig. S7 of size 1203 (Panel A, Threshold
8000 Cluster 1) and size 548 (Panel B, Threshold 800 Cluster 2). Cluster 1 is much larger, and the main difference
between these clusters appears to be their variance. Nevertheless, we are able to see from the cluster average emotional
arc (shown in orange) that Cluster 1 most closely follows a Tragedy with the happy ending and Cluster 2 follows
the Man in a hole story. The top stories in Cluster 1 are Piper in the Woods and Butterfly 9, in the Figure they
are shown with their ID in the Project Gutenberg database. The most central stories for Cluster 2 are Asmodeus; or,
The Devil on Two Sticks and Ghost Stories of an Antiquary.
Going through the linkage procedure in reverse, we see in Fig. S8 that Threshold 8000 Cluster 1 is the linkage of
Threshold 3850 Cluster 1 and Threshold 3850 Cluster 3. We see that what was a Tragedy with the happy ending
splits into a tragedy in Cluster 1 (with perhaps a small uptick) and a mostly flat Cluster 3. Threshold 8000 Cluster
2 is the linkage of Threshold 3850 Cluster 2 and Threshold 3850 Cluster 4, Panels B and D in Fig. S8, respectively.
Cluster 2 here again shows the most variance, with what mostly closely resembles a Romance story shape. Cluster
4, on average, is the man in the hole story type.
Finally, in Fig. S9 we see the 8 most different clusters as a collection of a familiar story types. In Panel A, Threshold
2050 Cluster 1 we have the Romance story. In Panel C, we have the Rags to riches (Cinderella) story. Panels E,
F, and G are all Man in a hole stories of varying strength. In Panel H we find a large number of stories (360) that
fall squarely into the Tragedy story type.
S7
Threshold = 8000
Threshold = 3850
Threshold = 2050
2 Clusters
4 Clusters
8 Clusters
(19) The Secret Garden

(16) Tik-Tok of Oz
(38) The Siege and Conquest of the North Pole
(44) The Enchanted Castle
(14) Beautiful Stories from Shakespeare
(19) A Hero of Our Time
(9) On the Nature of Things
(26) Around the World in Eighty Days
(30) The Gilded Age: A Tale of Today
(36) More About the Squirrels
(27) Plays, written by Sir John Vanbrugh, volume the...
(41) Grimms Fairy Stories
(26) The Essays of Arthur Schopenhauer; On Human Nature
(32) Section Cutting and Staining : A practical intro...
(25) The Railway Children
(34) An Essay on Man; Moral Essays and Satires
(17) Old-Time Stories
(56) An Enemy of the People
(28) The Dor Bible Gallery, Complete : Containing On...
(38) Ghosts
(43) A Christmas Carol in Prose; Being a Ghost Story...
(27) Hamlet, Prince of Denmark
(45) Idylls of the King
(41) The Garden Party, and Other Stories
(36) Confessions of an English Opium-Eater
(37) The Little White Bird; Or, Adventures in Kensin...
(51) Humour, Wit, & Satire of the Seventeenth Century
(88) The Essence of Buddhism
(59) Right Ho, Jeeves
(47) The Idle Thoughts of an Idle Fellow
(36) The Divine Comedy by Dante, Illustrated, Purgat...
(28) Favorite Fairy Tales
(69) The Communist Manifesto
(80) Piper in the Woods
(44) A Midsummer Nights Dream
(97) A Primary Reader: Old-time Stories, Fairy Tales...
(75) Hamlet
(7) Totem and Taboo: Resemblances Between the Psychi...
(3) Astounding Stories of Super-Science, March 1930
(10) Kwaidan: Stories and Studies of Strange Things
(24) The Liberty Minstrel
(15) Legends of Lancashire
(13) Gargantua and Pantagruel, Illustrated, Book 1
(7) Gorgias
(13) Frankenstein; Or, The Modern Prometheus
(7) Brighter Britain! (Volume 2 of 2): or Settler an...
(13) A Guide to Health
(11) The Financier: A Novel
(11) Astounding Stories, August, 1931
(8) The Satyricon Complete
(15) American Notes
(20) Astounding Stories of Super-Science September 1930
(13) The Writings of Thomas Paine Volume 4 (1794-1...
(30) The House of the Vampire
(11) Manners, Customs, and Dress During the Middle A...
(6) Paradise Lost
(6) The Principles of Masonic Law: A Treatise on the...
(6) Divine Comedy, Longfellows Translation, Complete
(1) A Book of Dartmoor: Second Edition
(1) The Ladies Work-Book: Containing Instructions I...
8000
6000
4000
2000
FIG. S6: Ward clustering.
S8
0.4
Threshold 8000 Cluster 1 (251)
0.3
0.2
0.1
0.0
0.1
0.2
0.3
1. The Literary World Seventh Reader (19721)
1. Piper in the Woods (32832)
2. Astounding Stories of Super-Science September 1930 (29255)
2. Appointment In Tomorrow (51152)
3. The Works of Edgar Allan Poe Volume 1 (2147)
3. Star, Bright (50935)
4. The Prisoner of Zenda (95)
4. Butterfly 9 (51167)
5. The Extermination of the American Bison (17748)
5. The Sentimentalists (51102)
FIG. S7: Ward cluster number 1, showing the largest 2 clusters.
S9
0.6
0.4
0.2
0.0
0.2
0.4
0.6
0.6
1. A General Introduction to Psychoanalysis (38219)
2. Paradise Lost (20)
3. Second Treatise of Government (7370)
3. The Extermination of the American Bison (17748)
4. Transfer Point (51115)
5. The Divine Comedy by Dante, Illustrated (8800)
5. Euthyphro (1642)
0.4
0.2
0.0
0.2
0.4
0.6
1. An Enemy of the People (2446)
2. Ghosts (8121)
3. Othello (2267)
4. Pierre and Jean (3804)
5. All Things Considered (11505)
FIG. S8: Ward cluster number 2, showing the 4 largest clusters.
S10
0.6
0.4
0.2
0.0
0.2
0.4
0.6
0.6
1. Woodcraft and Camping (34607)
1. The Lifted Veil (2165)
1. The House of the Vampire (17144)
2. The Inspector-General (3735)
2. Shakespeares Sonnets (1041)
3. The Governess; Or, The Little Female Academy (1905)
3. A Primary Reader: Old-time Stories, Fairy Tales... (7841)
4. The Essays of Arthur Schopenhauer; On Human Nature (10739)
4. The Adventures of Buster Bear (22816)
5. The Lost Princess of Oz (959)
5. The Clouds (2562)
0.4
0.2
0.0
0.2
0.4
0.6
0.6
1. The Liberty Minstrel (22089)
1. The Light Princess (697)
1. Asmodeus; or, The Devil on Two Sticks (51145)
2. The Adventures of Pinocchio (500)
2. Euthyphro (1642)
2. The Enchanted Castle (3536)
3. Incidents in the Life of a Slave Girl, Written ... (11030)
3. Ghost Stories of an Antiquary (8486)
4. Dreams (1439)
4. Among the Burmans: A Record of Fifteen Years of ... (51080)
5. Legends of Lancashire (51177)
5. Star, Bright (50935)
5. Bushido, the Soul of Japan (12096)
0.4
0.2
0.0
0.2
0.4
0.6
1. A General Introduction to Psychoanalysis (38219)
1. Othello (2267)
2. Ghosts (8121)
3. Second Treatise of Government (7370)
3. An Enemy of the People (2446)
5. The Divine Comedy by Dante, Illustrated (8800)
5. Volpone; Or, The Fox (4039)
FIG. S9: Ward cluster number 3, showing the 8 largest clusters.
S11
Appendix D: Unsupervised Machine Learning
The SOM works by finding the most similar emotional arc in a random collection of arcs. We use a 13x13 SOM
(for 169 nodes, roughly 10% of the number of books), connected on a square grid, training according to the original
procedure (with winner take all, and scaling functions across both distance and magnitude). We take the neighborhood
influence function at iteration i as
i
h
(D1)
Nbdk (i) = j N | d(k, j) < N (i + 1)
for a node k in the set of nodes N , with distance function d and total number of nodes N . For result shown here we
take = 0.15. We implement the learning adaptation function at training iteration i as
f (i) = (i + 1) ,
(D2)
again with = 0.15

In Fig. S10 we see both the B-Matrix to demonstrate the strength of spatial clustering and a heat-map showing
where we find the winning nodes. The AI labels refer to the individual nodes shown in Fig. S11, and we observe
three spatial groups in the both panels of S10: (1) A, C, and D, (2) G and H, and (3) I and F. These spatial clusters
reinforce the visible similarity of the winning node arcs. We show the winning node emotional arcs and the arcs of
books for which they are the winners in Fig. S11. The legend shows the node ID, numbers the cluster by size, and in
parenthesis indicates the size of the cluster on that individual node. In Panels A, C, and D we see varying strengths
of the Rags to Riches emotional arc. In Panel B, the second largest individual cluster consists of the Tragedy
stories. In Panels F and I we see the Boy Meets Girl story type, with a more pronounced positive start and happier
ending in Panel F. In Panels G and H we again see the Boy Meets Girl with more variation and a deeper Man in
the Hole at the end. Each of these top stories are all readily identifiable, yet again demonstrating the universality of
these story types.
G
12
13.5
12
F
140
12.0
10
10
120
10.5
8
9.0
100
Nj
Nj
7.5
80
6.0
60
4
4.5
E
3.0
2
D
C
0
0
6
Ni
0
8
10
12
0.0
20
1.5
40
A
6
Ni
10
12
FIG. S10: Left panel: Nodes on the 2D SOM grid are shaded by the number of stories for which they are the winner. Right
panel: The B-Matrix shows that there are clear clusters of stories in the 2D space imposed by the SOM network.
The top 9 SOM stories for our set of null emotional arcs are shown in Fig. S17. We observe that, as hypothesized, the
shuffled versions of stories lack coherent structure and are not emotional experiences that we can attach to meaningful
stories.
S12
0.3
Node 6 Cluster 1 (154)
0.2
0.1
0.0
0.1
0.2
0.3
0.3
1. Fifty Famous Stories Retold (18442)
1. Tartuffe; Or, The Hypocrite (2027)
1. Arms and the Man (3618)
2. The Essence of Buddhism (18223)
2. Mother Gooses Nursery Rhymes : A Collection of ... (39784)
2. Carmen (2465)
3. The Marching Morons (51233)
3. The Man Who Would Be King (8147)
3. How to Be a Detective (50902)
4. Poems by Currer, Ellis, and Acton Bell (1019)
4. She Stoops to Conquer; Or, The Mistakes of a Ni... (383)
4. More About the Squirrels (51031)
5. The Rubaiyat of Omar Khayyam (246)
5. The Tragical History of Doctor Faustus : From th... (779)
5. Hindu Tales from the Sanskrit (11310)
0.2
0.1
0.0
0.1
0.2
0.3
0.3
1. The Grand Inquisitor (8578)
1. The Princess and the Physicist (51126)
1. Lyrical Ballads, With a Few Other Poems (1798) (9622)
2. Parables of the Cross (22189)
2. Venus is a Mans World (51150)
2. The Time Machine (35)
3. Uncle Vanya: Scenes from Country Life in Four Acts (1756)
3. The Madman: His Parables and Poems (5616)
3. The Practice and Theory of Bolshevism (17350)
4. The Communist Manifesto (61)
4. Anthem (1250)
4. The Princess (791)
5. Alice in Wonderland : A Dramatization of Lewis C... (35688)
5. The Chapter Ends (41064)
5. The Girl on the Boat (20717)
0.2
0.1
0.0
0.1
0.2
0.3
1. Hamlet, Prince of Denmark (1524)
1. Hedda Gabler (4093)
1. The Lost World (139)
2. The Lady with the Dog and Other Stories (13415)
2. The Aspern Papers (211)
2. Section Cutting and Staining : A practical intro... (51169)
3. Hamlet (1787)
3. Hamlet, Prince of Denmark (27761)
3. The Duchess of Malfi (2232)
4. The Return of the Native (122)
4. The Railway Children (1874)
4. The Rise of Silas Lapham (154)
5. East of the Sun and West of the Moon: Old Tales... (30973)
5. The Man with Two Left Feet, and Other Stories (7471)
5. Mad Barbara (50995)
FIG. S11: The vector for each of the top 9 SOM nodes, accompanied with those sentiment time series which are closest to
that node. The core stories which we have found with other methods are readily visible.
S13
Appendix E: Word salads (null) comparison
Figs. S12, S13, S14, S15, S16, and S17 showcase the emotional arc analysis applied to word salad books.
5.92
Gutenberg #1
Shuffled
5.90
5.88
Happs
5.86
5.84
5.82
5.80
5.78
5.76
5.74
50
100
Story time
150
200
FIG. S12: The first book in Project Gutenberg, The Declaration of Independence of the United States of America by Thomas
Jefferson, along with word salad versions.
S14
Mode 1
Mode 2
Mode 3
0.1
0.5
0.0
-0.5
0.1
Mode 4
Mode 5
Mode 6
0.1
0.5
0.0
-0.5
Right
singular
vectors
(modes)
0.1
Mode 7
Mode 8
Mode
coefficients
from W
Mode 9
0.1
0.5
0.0
-0.5
0.1
Mode 10
Mode 11
Mode 12
0.1
0.5
0.0
-0.5
0.1
0
20
40
60
80
100
20
40
60
80
100
20
40
60
80
100
Percentage of book
FIG. S13: SVD modes from the emotional arcs of word salad books. We observe higher frequency modes appearing more
quickly, and a more even spread of mode coefficients.
S15
30
S
Control
Singular Value
25
20
15
10
5
0
10
20
30
40
50
Mode
FIG. S14: Comparison of the singular value spectra from the word salad emotional arcs and the emotional arcs of individual
Project Gutenberg books. The spectra from the word salad books is muted, indicating both lower total variance explained and
less important ordering of the singular vectors.
S16
Threshold = 1500
Threshold = 850
Threshold = 490
2 Clusters
4 Clusters
8 Clusters
(51) Tremendous Trifles

(39) Dorothy and the Wizard in Oz
(48) Poems by Currer, Ellis, and Acton Bell
(41) A Sentimental Journey Through France and Italy
(20) The History of Caliph Vathek
(59) Poems, Volume 2 (of 3)
(27) The Works of Edgar Allan Poe Volume 5
(50) Cyrano de Bergerac
(38) The Jewel of Seven Stars
(54) My Man Jeeves
(22) Mysticism and Logic and Other Essays
(35) A Journey to the Centre of the Earth
(29) Plunkitt of Tammany Hall: a series of very plai...
(20) The Game of Logic
(41) The Declaration of Independence of the United S...
(20) The Blue Fairy Book
(21) Alcibiades I
(43) Nonsense Books
(34) The Scarecrow of Oz
(26) The Tragical History of Doctor Faustus : From th...
(43) American Fairy Tales
(32) The Chimes : A Goblin Story of Some Bells That R...
(15) Uneasy Money
(33) The World Set Free
(39) The Princess and the Goblin
(33) Frankenstein; Or, The Modern Prometheus
(51) Mother Gooses Nursery Rhymes : A Collection of ...
(31) The Awakening, and Selected Short Stories
(35) The Golden Road
(95) Venus is a Mans World
(46) Alices Adventures Under Ground : Being a facsim...
(46) The Communist Manifesto
(28) Alices Adventures in Wonderland
(52) Moral Poison in Modern Fiction
(12) The Duel and Other Stories
(10) The Waterloo Roll Call: With Biographical Notes ...
(8) Beowulf : An Anglo-Saxon Epic Poem
(10) Common Sense
(4) The Reformation and the Renaissance (1485-1547)...
(4) The Old Man in the Corner
(11) Deuterocanonical Books of the Bible : Apocrypha
(8) The Nigger Of The Narcissus: A Tale Of The Fo...
(15) The Book of the Damned
(14) A Wodehouse Miscellany: Articles & Stories
(9) Anarchism and Other Essays
(8) The Son of Tarzan
(22) Paradise Lost
(38) The House of Souls
(40) The First Book of Adam and Eve
(19) The Works of Edgar Allan Poe Volume 1
(17) A Room with a View
(14) Legends of Lancashire
(27) Orthodoxy
(24) The Scarlet Letter
(29) Far from the Madding Crowd
(18) The Enormous Room
(23) Proposed Roads to Freedom
(20) Mr. Standfast
(16) The Monk: A Romance
(12) Trents Last Case
1500
1000
500
FIG. S15: Dendrogram of clustering using Wards method on the emotional arcs of word salad books. We observe comparatively
low linkage cost for these emotional arcs, indicating the absence of distinct clusters.
S17
A
0.05
0.00
0.05
1. Mission Furniture: How to Make It, Part 3 (23666)
1. Tremendous Trifles (8092)
2. Nathan the Wise; a dramatic poem in five acts (3820)
2. The Essays of Arthur Schopenhauer; On Human Nature (10739)
3. The Nakimu Caves: Glacier Dominion Park, B. C. (51042)
3. The Politeness of Princes, and Other School Sto... (8178)
3. Plays by Anton Chekhov, Second Series (7986)
4. The Princess (791)
4. Ozma of Oz (486)
4. Five Children and It (17314)
5. Plays: the Father; Countess Julie; the Outlaw; ... (8499)
5. The Princess of Cleves (467)
0.05
0.00
0.05
1. Woodwork Joints: How they are Set Out, How Made... (21531)
2. Idylls of the King (610)
3. A Rebels Recollections (51211)
4. Further Chronicles of Avonlea (5340)
5. The White Company (903)
FIG. S16: Four clusters (linkage threshold 850) from the hierarchical clustering of word salad books. We observe that the
cluster mean emotional arc and the most central emotional arcs have high variance, without a visible signal.
S18
0.3
0.2
0.1
0.0
0.1
0.2
0.3
4. Transfer Point (51115)
5. How to Live on 24 Hours a Day (2274)
0.3
1. Spoon River Anthology (1280)

2. A Dolls House (15492)
4. Spirits in Bondage: A Cycle of Lyrics (2003)
5. The Man Upstairs and Other Stories (6768)
1. A Pair of Blue Eyes (224)

2. Arms and the Man (3618)
4. Reflections; or Sentences and Moral Maxims (9105)
5. Considerations on Representative Government (5669)
0.2
0.1
0.0
0.1
0.2
0.3
1. The Go-Getter: A Story That Tells You How to be... (12257)
2. Salom : A Tragedy in One Act (42704)
3. The Nakimu Caves: Glacier Dominion Park, B. C. (51042)
4. A Strange Disappearance (1167)
5. The Riddle of the Sands (2360)
0.3
1. Venus is a Mans World (51150)

2. A Primary Reader: Old-time Stories, Fairy Tales... (7841)
3. Euthyphro (1642)
4. Carmilla (10007)
5. Henry V (2253)
1. The Awakening of Spring: A Tragedy of Childhood (35242)

2. Love Among the Chickens (3829)
3. Carmen (2465)
4. Poor Folk (2302)
5. The Rivals: A Comedy (24761)
0.2
0.1
0.0
0.1
0.2
0.3
1. She Stoops to Conquer; Or, The Mistakes of a Ni... (383)
2. The Light Princess (697)
3. The Problem Makers (50971)
4. Pygmalion (3825)
5. Three Dialogues Between Hylas and Philonous in ... (4724)
1. The Sentimentalists (51102)

2. 1601: Conversation as it was by the Social Fire... (3190)
3. Emma (158)
4. De Profundis (921)
5. Winesburg, Ohio: A Group of Tales of Ohio Small... (416)
1. The Turn of the Screw (209)

2. The Adventures of Sally (7464)
3. Main-Travelled Roads (2809)
4. Indiscretions of Archie (3756)
5. The Private Memoirs and Confessions of a Justif... (2276)
FIG. S17: The vector for each of the top 9 SOM nodes for null emotional arcs, accompanied with those sentiment time series
which are closest to that node. We see that the emotional arcs from null arcs show little coherent structure, collapsing heavily
onto a single node with muted variance.
S19
Appendix F: Additional Figures
Here we include additional supporting information.
FIG. S18: Kurt Vonnegut writes in his autobiography Palm Sunday on the similarity of certain story shapes [23]. The exposition
of this particular similarity would place both of these stories in our grouping of Rags to Riches emotional arcs.
Mode
SV 1
-SV 1
SV 2
-SV 2
SV 3
-SV 3
SV 4
-SV 4
SV 5
-SV 5
SV 6
-SV 6
SV 7
-SV 7
SV 8
-SV 8
-SV 9
SV 10
Mode Arc
Nm
267
440
219
167
104
109
108
47
48
44
15
43
19
24
12
14
10
10
Nm /N
15.4%
25.4%
12.7%
9.7%
6.0%
6.3%
6.2%
2.7%
2.8%
2.5%
0.9%
2.5%
1.1%
1.4%
0.7%
0.8%
0.6%
0.6%
DL Median H
289.0
337.5
327.0
297.0
298.0
303.0
311.5
286.0
280.0
280.5
336.0
267.0
336.0
286.5
279.5
275.0
215.0
410.0
DL Mean O
638.0
633.6
652.3
540.2
896.3
803.9
823.5
790.6
397.1
452.0
500.8
689.5
678.7
786.5
509.0
764.9
275.2
756.4
DL Variance
2176764
907943
1122421
554142
7829052
2839614
2728083
1637200
146597
188580
337828
929111
643264
1597462
479830
1067329
13927
666121
% > Average
20.6%
25.0%
21.9%
16.8%
22.1%
26.6%
26.9%
19.1%
8.3%
13.6%
13.3%
25.6%
21.1%
25.0%
8.3%
28.6%
0.0%
20.0%
Download Distribution
FIG. S19: Download statistics for SVD Modes with more than 0.5% of books.

The Emotional Arcs of Stories Are Dominated by Six Basic Shapes

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The emotional arcs of stories are dominated by six basic shapes

arXiv:1606.07772v2 [cs.CL] 6 Jul 2016

Department of Mathematics & Statistics, Vermont Complex Systems Center,

The power of stories to transfer information and define

three before concluding with a final resolution. While

Base text from

Uniform length segments of the text

Rags to riches (e.g., Cinderella).

sliding window across text

Tragedy (e.g., Anna Karenina).

In addition to these seven, Booker contends that

chosen for lexical coverage and its ability to generate of

Project Gutenberg Corpus

Emotional arc construction

To generate emotional arcs, we analyze the sentiment

For a suitable corpus we draw on the freely available

and 18,000, and with more than 150 downloads from

Principal Component Analysis (SVD)

We use the standard linear algebra technique Singular

where now U contains the projection of each sentiment

for clarity and convenience, such that W now represents

mode in Fig. 3 we project the 1,737 stories onto each of

the emotional arc to a degree of accuracy visible to the

1: Alices Adventures Under Ground : Bein... (19002, 333)

1: Typhoon (1142, 219)

1: The Consolation of Philosophy (14328, 1188)

1: A Primary Reader: Old-time Stories, F... (7841, 307)

1: The Yoga Sutras of Patanjali: The Boo... (2526, 338)

1: The Wonder Book of Bible Stories (16042, 183)

riches mode are Alices Adventures Under Ground and

to as Oedipus, is found most characteristically in The

Rags to riches (rise).

arcs are uniquely compelling as stories written by and

Using three distinct methods, we have demonstrated

[1] T. Pratchett, I. Stewart, and J. Cohen. The Science

Tales of Magic, Religious Tales, and Realistic Tales, with

We are producing data at an ever increasing rate,

ones. http://whyfiles.org/2015/in-10-languages-happywords-beat-sad-ones/, February 2015.

|bi (t) bj (t)|.

log10 (Number of downloads)

1: The Sheik: A Novel (7031, 152)

1: Talks To Teachers On Psychology; And ... (16287, 222)

1: The Anatomy of Suicide (50907, 372)

1: The Idle Thoughts of an Idle Fellow (849, 177)

1: The New Freedom: A Call For the Emanci... (14811, 243)

1: Astounding Stories, July, 1931 (31168, 180)

Mode space havg

Mode space havg

Mode space havg

Mode space havg

(19) The Secret Garden

FIG. S6: Ward clustering.

Threshold 8000 Cluster 1 (251)

Threshold 8000 Cluster 2 (1478)

1. The Literary World Seventh Reader (19721)

1. Piper in the Woods (32832)

2. Astounding Stories of Super-Science September 1930 (29255)

2. Appointment In Tomorrow (51152)