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American Operator

  by Brian Andrews & Jeffrey Wilson

(about 454 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:

world, I was the one who was deficient. I was the one who was a liability to the team, because I didn’t have the firearms proficiency and operational experience to pull my weight on a tactical team.” “That’s not true,” Munn said. “You’re a badass in the field, as good as any operator I’ve ever worked with.” “Oh really? Then why was I the only one on the team who got shot in Jerusalem?” Now Munn was the one who screwed up his face. “Yes, we’re operators, but that doesn’t mean we’re omniscient. It doesn’t mean we’re perfect. This was my point exactly, Elizabeth. There are just some things we can’t control.” “You’re wrong,” she insisted. “I had a bead on the asshole who shot me in the Midrachov. I fired first, Dan, and I missed. I nearly died that day because I didn’t make a shot I should have made. And if he hadn’t shot me, he would have shot one of you. One of you might be dead today… When I came back, I made a decision that if I was going to stay at Ember, then I needed to be better. I’ll never be able to challenge a six-foot-two, two-hundred-twenty pound operator in hand-to-hand combat; it’s just biology, and there’s no wasting time pretending otherwise. But overwatch—now that’s a different story. That’s a function I realized I could perform at a level equal to or better than anyone else on the team. And if we’re being black SUVs grouped in a crescent. Sheltering behind the vehicles were five operators dressed in coyote-gray cargo pants and black long-sleeve shirts, tucked in. They were shooting at the broadside of a car—a battered BMW that appeared to have crashed into a hedge just inside the smashed front gate. Behind the car, she caught a glimpse of a large man, filthy, with a full beard and long unkempt hair. He appeared to be wearing a heavy vest—a suicide vest perhaps—and he was shooting at the operators behind the SUVs. Beside him, a dark-skinned fighter with a full black beard popped up and fired a volley before they both dropped from sight and crouched at the rear of the sedan. Those are the bad guys for sure. The operators with the SUVs have to be the Americans. It’s a Special Forces team come to take me home. Amanda belly-crawled out the front door and stopped behind a heavy porch railing with concrete balusters. She got to her knees, raised the rifle over the top of the railing, and aimed at the big man behind the BMW, her vantage point giving her a better angle than the Americans pinned down behind the SUVs. Her finger tightened on the trigger— The roar of automatic weapon fire erupted to her right as a firestorm of bullets pounded the SUVs from the opposite direction of the BMW. She shrieked and dropped back to the ground. Loud cracks punctuated the machine gun fire

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 2271.18 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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