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Enemy of Mine

  by Brad Taylor

(about 451 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:

perfume, it had an old tin roof that blocked everything, including sunlight. I was beginning to think Jennifer was purposely making this hard. “Are you sure you know where you’re going? Isn’t there a park or soccer field around that doesn’t require us to go this deep into the city?” “Keep your pants on. The Umayyad Mosque is right at the end of the souk.” “Mosque? Seriously?” She stopped and turned around. “You really didn’t do any studying, did you? This has all been some joke. You knew we weren’t going to get up north.” Her expression wasn’t angry. It was resigned, like she’d just realized that all her exertions and studying had been nothing but a pale jest at her expense. It hurt again. “Jennifer… I had no idea. I really wanted to do this trip. I know I’ve made fun of the research, but that’s because I thought we would do the trip. If I’d known this was going to happen, I wouldn’t have been acting like a jackass.” After a moment of silence, she said, “Whatever this message is, it’s not going to be good. I can feel it. You’re going to make me do something bad.” Jennifer had already been forced to do things in the name of the United States that the average citizen would consider horrific, and she’d understood the why, but she wanted me to say it wasn’t so this time. Wanted me to make good on my promise of letting her do pristine bin Laden–wannabe beard and whirled around, like an Olympian conducting a hammer throw. I did a full circle, generating as much velocity as I could, and released his head straight into the rock wall of the room, seeing it cave in with a satisfyingly meaty thud. I turned on the torturer, who had backed up and started waving the scalpel. I stared into his eyes and smiled. I worked the pieces of chair loose from my wrists, giving me a stout, ironwood club for each hand. I noticed nails sticking out of each end and turned them to the rear, mimicking his voice. “Don’t worry, I won’t use the nails. I don’t want you to die too soon.” I moved in on him, bringing the first club down on the forearm that held the scalpel, shattering it. He screamed, a guttural sound from deep inside. The clubs became a blur, beating him all over his body, striking any available spot. Whenever he tried to protect himself, I moved somewhere else. I broke his jaw, both cheeks, his nose, ribs, clavicles, and anything else I could harm, the clubs working like a Japanese Taiko drummer. He fell to the ground with pink, bubbly froth coming out of his mouth. I continued on like some demented gorilla, trying mightily to burst his internal organs, the rage flowing through me and into him. Eventually, I slowed out of sheer exhaustion and saw I was now drumming a lifeless bag of meat

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 2257.32 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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