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Black 13

  by Adam Hamdy


(about 476 pages)
118,987
total words
of all the books in our library
54.03%
vividness
of all the books in our library
7.65%
passive voice
of all the books in our library
2.03%
all adverbs
of all the books in our library
0.84%
ly-adverbs
of all the books in our library
1.19%
non-ly-adverbs
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:

MOST PASSIVE PAGE
MOST VIVID PAGE
all of you being burned beyond recognition, right? I don’t care what you’ve got in those cases, you can’t burn the bodies in the other building. Your plan isn’t going to work now.’ ‘I’ve got one hundred and forty kilos of CL-20,’ the man said, and Pearce’s heart sank. That was enough to crater half the town. ‘You can’t be sure,’ Pearce countered. ‘I bet you were all supposed to be in here when the bomb went off. That’s why no one’s wearing protective vests. If just one of your men’s bodies can be identified, they’ll know the truth. The bodies are too spread out. You can’t be sure they’ll all burndon’t kill these kids for nothing.’ Pearce was gratified to see a flicker of uncertainty cross the man’s face before it was replaced by renewed resolve. ‘I have to do this,’ he said. ‘We have to do this, to save England. To save Britain. This is good,’ he continued, as if trying to convince himself. ‘This is good and it will be remembered as heroic. In years to come, they’ll put up statues of me.’ ‘It will be remembered as murder and your name will be cursed,’ Pearce responded. ‘Look around you. They’re just children. They are England. They are Britain. They’re innocent.’ ‘They’re not innocent! No one’s innocent!’ Salvation railed. ‘We wouldn’t have had to do this if people had protected us! If they’d stood up for us! But they didn’t, and now we’re here.’ Pearce could nothing but the horrific sound of his own rasping breaths, which faltered as he was inexorably pulled into the Reaper’s cold embrace. Scott Pearce leaned over the bow of the long-tailed boat and watched the water roil against the stem. Balmy air brushed his skin, clean and sweet, tinged with the scent of freshly churned sea. The rattle of the boat’s engine was the only thing that disturbed the perfect quiet. The water ahead was calm and still, and the bright afternoon sun made the gentle swells shimmer like the scales of a fish. The browns and greens of distant tropical islands were blown out by the light, like faded watercolours painted on the azure sky. One shape loomed clearly, jutting out of the sea like a weathered mushroom, its base narrow, its summit bulbous and almost entirely covered in thick jungle. No more than 300 metres wide, the tiny uninhabited island of Kok Arai lay directly ahead. Pearce could see the familiar limestone scar on its north-western edge, where a column had been cleaved from the island. His eyes started picking out his route. ‘Last one?’ Ananada yelled from the stern. The short, sinewy boatman had his eyes fixed on the island, his calloused leathery hands gripping the tiller. ‘Yeah,’ Pearce called back. ‘Last one.’ Lek, Ananada’s tiny son, smiled at Pearce. The black-haired boy sat beneath the purple canvas canopy that covered the middle of the boat. Lek was threading tiny stones and coral onto wire, making bracelets

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 2379.74 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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