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The Exphoria Code

  by Antony Johnston


(about 446 pages)
111,522
total words
of all the books in our library
35.60%
vividness
of all the books in our library
8.33%
passive voice
of all the books in our library
3.24%
all adverbs
of all the books in our library
1.11%
ly-adverbs
of all the books in our library
2.13%
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
it.” “It might, if people would stop wasting my time with stupid questions.” Do you feel your opinion and viewpoint are considered valuable to the direction of the project? “God, no. I just do what I’m told.” “I’m a project lead. They’d struggle to achieve their aims without me.” “Sometimes. Mainly when they happen to be the same as my manager’s.” “We’re just the workers. Nobody listens to us.” “No, but they should. I’ve found some possible implementation flaws, but my project lead won’t escalate.” Given the chance to move to another role here, what would you choose and why? “I’d be a project lead. We do all the work while they take all the credit.” “No, I think I’m most useful where I am.” “I might move to Target Balancing. I’m really interested in that procedure.” “I’d run the place. And a damn sight better, let me tell you.” Do you think you’re paid well enough? A trick question: answering ‘yes’ would immediately raise Bridge’s suspicions. Nobody did. Are you under any undue stress? “What do you think?” “Yeah, it’s stressful. That’s what we signed up for, what we’re paid for.” “Define ‘undue’.” “People round here are cry-babies, they can’t handle a bit of pressure.” “No, it’s fine.” “Every bloody day.” Do you feel comfortable addressing issues with your direct superior? “Why shouldn’t I? We’re all on the same side, aren’t we?” “I can barely talk to him about what I had for lunch.” “No idea, I haven’t had was deserted. Bridge noticed the silent, dim red pulsing operation light of a CCTV camera mounted high on a corner wall, watching for thieves. But she was no thief; she had a key. Lockup number 18 was one of the larger units, as wide as two of the nearby houses, with a double-width rollup door. She inserted Ten’s key in the lock and turned it. With a solid metallic click, she felt it give and unlock. She pocketed the key, then lifted the door open with a grunt. Inside it was completely dark. She had a flashlight on her iPhone, but didn’t use it right away. To whoever was watching on the other end of that security camera, it would look pretty dodgy if she didn’t appear to know where the light switch was. So she stepped inside, lowered the door behind her, and waited till it was completely closed, enveloping the lockup in complete darkness. Then she activated the flashlight, and found the light switch. Bright halogen strips temporarily blinded her, but as her sight returned she knew she was in the right place. Tool racks lined the walls. Where the racks ended, metal shelves filled with parts and smaller tools filled the space. Next to the wall-mounted power point was a workbench covered in half-built parts, oily chamois leathers, an oil-stained portable stereo, stacks of CDs, an electric kettle and a coffee mug. The workbench was as untidy as anything in Ten’s house. The tool racks and shelves

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 2230.44 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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