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Termination Order

  by Brent Towns

(about 241 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:

and said, “Just what I need to be doing. Drinking beer in the early hours of the morning after an op goes sideways.” “It wasn’t a total waste,” Ferrero pointed out. “We still did what we aimed to do. I’m sure Axe won’t be disappointed that the person responsible for his sister’s death is dead.” Thurston nodded. “What do you think we should do next?” “You’re asking me?” “I am.” “We’ve come this far. How about we go after the head of the snake?” The general studied him. “I’d like to, but I might have to run it past Hank first.” “OK. While Slick has had some downtime, I’ve had him digging around into the affairs of Marek.” “Has he found anything useful that might be used to our advantage?” “Not that I’m aware of. But if there is, he’ll find it.” And find it he did. Thurston looked up to see Swift approaching them from across the hangar. She nodded in his direction. “Shouldn’t he be racked out?” Ferrero swiveled his head and saw Swift. “He should be.” When he reached them, Thurston growled, “Why aren’t you getting some sleep? The team won’t be back before dawn.” Swift shrugged. “I was too switched on, ma’am. So, I thought I’d put my awake hours to some good use.” Thurston noticed the sheets of paper he held in his hand. “What’s that?” “I was trying to work out a way we could hit Marek where it really hurts. So, I did the slip. He’s in the wind.” “Fuck it,” Axe growled. “He’ll turn up,” Thurston said. “They always do. And when he does, we’ll be there to get him. But for now, let’s get packed up. We’ve got a plane to catch.” Karma Beach Club Indonesia One Month Later The sun was starting to set, and the sky was beautiful with red and purple streaks. The couple sat at the bamboo bar, drinking Tequila Sunrises and smiling at each other. The bar itself sat on the sand under an awning constructed of a framework of bamboo poles along with a grass and bamboo thatch. The structure’s supports too were mostly bamboo; thick trunks fixed together to make everything sturdy. Other couples sat at tables in Balinese chairs, talking, drinking, enjoying what would turn out to be a warm evening. Banana lounges were placed further out on the beach where tourists could sit and watch the slop of the clear-blue waters against the tropical sands. Set to the right of the small beach was a large screen, set to show one of the latest movies after dark. Behind it was the lush rainforest which framed everything it surrounded. The couple at the bar ordered another drink. The woman wore a white bikini top and a sarong around her slim waist. The man wore blue shorts and a T-shirt. Off to their right, a man approached the bar, dressed in shorts and a floral shirt. He walked past them and found a seat

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 1206.58 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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