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All Necessary Force

  by Brad Taylor

(about 477 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:

of them.” My mouth dropped open. “Are you serious? How?” “I don’t know, but this girl’s been kept as a slave for over a month. She says there’s about twelve other girls with her. She was supposed to ‘learn her trade’ here before being sold to some pig. The girls come and go all the time at that place. She thinks she’s due to go in a day or two.” I glanced at the girl and found her staring at me again. A young, black-haired little thing who should have been beautiful, but looked broken instead. Greasy hair and grimy nails, wearing a dress that was filthy. Scared out of her mind. Like my daughter would have looked if this had happened to her. Stop that shit. “Jennifer, there’s no way we’re going to do anything about the girls. I’m sorry, but that’s it. We don’t have the authority, and we don’t have the means. We’re not the Justice League, for Christ’s sake. This isn’t a comic book. We have our own mission to do.” Her expression was pleading. “That’s not true, Pike. We are the Justice League. At least the group I wanted to join is. Nobody else can help them. She thinks the police are aware of the place, but they don’t do anything. This is no different than that child you saved in the street. It’s what we do. Isn’t it?” “No. It is different. You’re talking about altering the entire mission. We have the beacon. We’re terror exploded in her, her brain flashing on an image of her sliced open like a sacrificial lamb, blood jetting out of her neck and coating the floor. Gunfire exploded outside, startling them both. She felt him shift above her. The blade left her neck, and the lock loosened a fraction. Seizing the moment, she rolled to the right, relieving the strain and freeing her joints. Flipping onto her back, she scissored her calves around the legs of the man. Before he could react, she torqued them as hard as she could, rotating onto her face again and bringing him to the ground. She leapt up and raced to the back of the store, looking for an exit. There was none. She whirled around and faced the man, warily watching his knife hand. He slashed a long, looping strike, attempting to rip her from the pelvis up. Having nothing else, she blocked it with her left arm, feeling the knife slice into the meat of her forearm. She lashed out in a snap kick and connected with his thigh, forcing him back. She turned and grabbed another lamp, this one shaped like a lotus flower with heavy brass leaves. The blood running from her arm sent her into a feral state. She rotated with all of her might, connecting with his head and driving one of the leaves into his eye socket. The man shrieked, a high-pitched wail like a child, and fell to his knees. She jerked the lamp

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 2385.76 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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