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The Heavens May Fall

  by Allen Eskens

(about 355 pages)
88,838
total words
54th PERCENTILE
of all the books in our library
36.23%
vividness
19th PERCENTILE
of all the books in our library
7.99%
passive voice
48th PERCENTILE
of all the books in our library
2.18%
all adverbs
7th PERCENTILE
of all the books in our library
0.52%
ly-adverbs
5th PERCENTILE
of all the books in our library
1.66%
non-ly-adverbs
20th PERCENTILE
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
turned to Max. “This is not your investigation, Max. I know it’s your wife, but you can’t be involved. You know that.” “I know it’s not my investigation. It was Louis Parnell’s investigation. He didn’t find a goddamn thing. He closed the file as a hit-and-run. He’s retired now, so it’s nobody’s investigation.” “But you can’t be the one looking into your wife’s death. It’s not just forbidden by policy, but it’s a bad idea.” “So, do what? Give this over to someone else to sit on, the way Parnell did? Do you really think any other detective will do what needs to be done? I’m reopening her case. I stayed out of it last time, and nothing got done. That won’t happen again. I’ll go to every single storage unit in the state if I have to. I’ll find the lock that goes with that key. No other detective would do that.” “I would,” Niki said. “You’re my partner. They’ll no more give that file to you than they would give it to me.” “I’m your partner, yes, but I’m also a friend. I know what it means to you to find out what happened to Jenni. But that doesn’t mean that I’m going to sit by and watch you mess up your career. I have your back—that’ll never change. But know that I don’t approve.” “I won’t put you in the middle.” “I’m already there, but you’re missing my point. I’m not worried about how this might guard in it rolled past. He found the elk, slightly larger than life-sized, its hooves anchored to a granite mound. Boady stood beneath the elk and faced in the direction of the animal’s stare. There he saw the giant silver maple tree, the one he stood beneath at the funeral. He walked to the base of the tree and looked into the shadows cast by the moonlight until he saw the form of a man sprawled out in the grass. Max lay prostrate, his mouth open, his face flattened into the ground, one hand clutching a tuft of sod, the other hand pressed up against the smooth granite of a headstone. Boady knelt at Max’s side and immediately smelled the odor of whiskey radiating up from his friend. He tried to roll Max over, but Max resisted, muttering “no” and wrapping his protest with impotent threats and slurred expletives. When Max’s squawking grew too loud, Boady gave up his effort and let Max settle back into the grass. The moon painted the surface of the lake with a wide swath of light that flickered off tiny ripples, giving the water a sequined cover. The shadows cast by the trees created patches of black on gray that swayed in the light breeze. Boady sat up against a nearby headstone to wait for Alexander to arrive. He closed his eyes and breathed in the scent of freshly cut grass. In the distance he could hear a mockingbird singing to the full moon

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 1776.76 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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