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Days of Rage

  by Brad Taylor


(about 494 pages)
123,418
total words
of all the books in our library
36.31%
vividness
of all the books in our library
8.28%
passive voice
of all the books in our library
2.39%
all adverbs
of all the books in our library
0.80%
ly-adverbs
of all the books in our library
1.60%
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
you’d met before had been here there would have been no need for a signal. Not only are you late, but you can’t seem to follow simple instructions.” Akinbo bristled and said, “Who are you, and where is the old man? I don’t like being tricked.” “You may call me Jarilo. I’m the one who will facilitate the meeting. The ‘old man,’ as you call him, is not able to meet without drawing the attention of others. I’ll be his go-between. As for being tricked, you’ll meet here again, using the same signals. That man will also be someone you don’t know. That’s why we sent you here today. Practice. And it looks like it was necessary.” “Why won’t you be here?” “I have my reasons, but that’s irrelevant. The man will give you further instructions on where to get the weapon, what precautions are necessary, and how it can be detonated. We believe it’s an artillery shell, but we’re not sure. After he has passed his information, call me. I will meet you and we will discuss what he said.” “What about my target? Where am I going with the weapon?” “That depends on a lot of factors. We’ll discuss after you talk to the man. Remember, tomorrow’s meeting is after dark. Will that cause you problems? Can you still find this place?” “Yes. Of course I can. I’m not stupid.” Akinbo received a patronizing smile for the comment. “Okay. Do not be late tomorrow. The man you are the ancient cobblestones as it wove between pedestrians, both the driver and passenger wearing full-face helmets. The driver swerved to the left of the narrow lane, and the passenger pulled something out of his jacket. As the bike entered the pool of light spilling out from the café, Yuri recognized a mini–Uzi machine pistol. His mouth opened in disbelief. The driver pulled up next to Akinbo on the other side of the wood rail and the passenger flipped out a small metal-skeleton stock, seating it into his shoulder pocket. Before Yuri even thought to shout the passenger squeezed the trigger, the weapon sounding like a canvas tarp ripping apart. The Syrian held his hands up as if they could stop the death, then began twitching from the rounds shredding his body. He slumped over the wood railing next to the table, dripping dark fluid on the street, mixing in with the remains of a spilled bottle of Coca-Cola. The pedestrians began to react as the minibike surged forward, gaining distance from the targeted killing. The driver cranked the handlebars hard to the right to get the bike turned around and aimed back up the lane, away from the dead end of the bazaar. He gunned the engine and the tires hit something wet on the street, a patch of liquid as slick as black ice. Instead of gaining traction, both tires flew out from underneath the bike, the engine slamming onto the cobblestone and spraying sparks. The passenger spilled

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 2468.36 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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