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Red Phoenix

  by Andrew Warren

(about 479 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:

people couldn’t survive. You can’t blame yourself. You did the best you could.” “No, I didn’t. But now, if there’s even a chance Bernatto’s intel is accurate … look, it’s better you don’t know.” “Well. You really don’t trust me.” “When this goes down, you’re going to need deniability.” Rebecca knew it was pointless to ask him again. He would never tell her. “Let me do some digging on Lapinski. I’ll see if I can verify this asset you’re talking about. Can you at least sit tight until then?” “No. I can’t. But I’d appreciate the help.” She sighed. “How will I contact you?” “I’ll be in touch. And listen. These Tailored Ops guys, they’re more dangerous than you think. Data is their lifeblood. They feed off it, and they’ll do anything to protect it. You know what their motto is?” Rebecca repeated the words from memory. “Your data is our data. Your equipment is our equipment – any time, any place, by any legal means.” A note of concern softened Caine’s voice over the phone. I don’t think they put too much emphasis on the ‘legal’ part. Be careful.” “I will.” She was about to hang up the phone, but Caine spoke again. “Rebecca?” “Yes?” “I called you because I do trust you. I only trust you. You’re all I’ve got.” “I … I’m sorry,” she stammered. “No. I’m sorry. And I promise you, after this is over, when Sean is safe … the bastard dies.” There was a click and he was he muttered. “It doesn’t speak Chinese.” The group watched as Guan-yin rolled a large block of dough onto a wooden cutting board. When the dough formed a thin, square sheet, she held the cutting board above a pot of boiling water. Using a small, square-shaped knife, she made a series of quick, slicing motions over the dough. With each stroke, the knife shaved a long thin strip of dough off the board. The knife-cut noodles, known as Dao Xiao Mian, fell into the bubbling water and began to cook. Caine watched as Guan-yin shaved the last of the dough into the water. Then she used a wire strainer to sift out the cooked noodles, dropping them into large white bowels. She ladled a generous portion of beef broth over the noodles and set them down on the table. Caine used a pair of chopsticks to shovel the noodles into his mouth. They were thick, chewy, and satisfying. The amount of meat in the bowl was small, but each chunk of beef had been boiled to exquisite tenderness. It fell apart in his mouth, mixing with the ginger, onion, and other flavors in the hearty soup broth. As they ate, Tiao sat in a rocking chair, facing away from them. He appeared fixated by the local news playing on a small TV in the corner. He rocked back and forth, slurping soup from his bowl with a white plastic spoon. “Alton,” Sean mumbled, as he stuffed his mouth full of noodles

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 2395.98 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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