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One Rough Man

  by Brad Taylor

(about 536 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:

Please be careful. Let them do the hard stuff. Don’t do anything heroic. Don’t let Carlos blow you up.” “Cut that shit out. You should be worrying about him.” I started to get in our car when she grabbed me by the arm, “Pike, I’m serious. You might have nine lives, but you’ve been going through them like a chain-smoker. A life can only have so much luck. We’re both working on credit now. I can feel it. Promise you’ll be careful.” I looked at her, realizing she was deeply worried. “I’ll be careful. This’ll be all right. Trust me.” “I do trust you,” she said, with a hint of a smile. “A little, anyway. It’s just that you’re acting different. I can’t put a finger on it, but it’s like you now think you’re invincible. You used to be an asshole about everything, sure it was failure. Now you act like this is all just a ride at Disneyland.” “Hey, this is what I do. I’ve been killing terrorists a helluva lot longer than I’ve known you. Sorry if I get a kick out of it, but don’t tell me to go back to what I was. You don’t like it, I’m sorry. But this is who I am.” She recoiled, and I knew I had missed the point. The hurt and pain in her expression reminded me of Heather the last night I had seen her. I remembered what I had said after Jennifer had thought Carlos was around the left side of the house and jumped the waist-high concrete wall of the courtyard. He moved to the northeast corner and squatted down. Looking closely at the ground, he searched for a length of twine coming out of the neglected patch of flower garden. Pulling gently, he followed it for a foot and a half, eventually pulling up a key. He smiled. He had the right house. Bakr unlocked the back door and swung it open without going inside. He stood and listened for thirty seconds. Hearing nothing, he walked slowly into the house, smelling the musty, cloying odor of a space rarely used. He searched throughout the downstairs and upstairs, slowly walking and listening for anyone or anything. Eventually he was satisfied that the house was empty. He moved to the front and peeked out the window, getting a clear view up and down the street. He saw nothing out of the ordinary. The woman continued beating her rug, dust swirling around her head, giving her a halo in the afternoon light, but nothing else was moving. He found the basement door and went downstairs, fumbling a second before finding a light. He took a moment to let his eyes get used to the dazzle. Against the back wall, stacked from the dank floor to within a foot of the ceiling, were enough explosives to take out an entire city block. He saw blasting caps, AK-47s, blocks of Semtex, ball bearings, remote-control aircraft components, cotton vests, wiring

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 2680.28 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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