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The 13th Hour

  by Brigitta Moon


(about 251 pages)
62,666
total words
of all the books in our library
43.27%
vividness
of all the books in our library
8.33%
passive voice
of all the books in our library
1.88%
all adverbs
of all the books in our library
0.45%
ly-adverbs
of all the books in our library
1.42%
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
man, the girl said he was high. Now, we both know Billy don’t mess with that shit. He’s naive to it. So, here’s what we’re going to do.” Thorn went to the trunk. He returned with an orange tote that resembled a woman’s makeup bag. “If we were called out to a scene and the person was like Billy is now; what would we do?” Romero grinned. “Narcan.” “That’s right. It can’t hurt.” Thorn opened the box and took out the prefilled nasal spray. “If it works, good for us all; if not, we’re in deep.” He held the device up to Billy’s nose, inserted it into his nostril, and pressed the plunger to deliver the dose. Romero’s phone trilled. He slipped it from his pocket and answered. “I’ve been working on the mayor,” Copeland said. “Have you been able to break him?” Romero asked. “I’ve made some leeway. It seems he’s being backed into a corner. Either he does what the blackmailer wants or he loses everything. And here’s the worst part; if he does comply, the city will be in ruins, but he will still be mayor.” “Everything? What’s everything?” “He will have to give up being mayor if he doesn’t give in to the demands.” “What the hell could be so terrible that he would have to give up his position?” asked Romero. “Your guess is as good as mine. He is tight lipped. I think he is planning to do what is being demanded. He has Copeland unfolded from the car and stepped up onto the sidewalk. A breeze puffed Romero’s jacket like a balloon filling with helium. The gun on his hip glinted in the sunlight. They stopped in front of the Neighborhood Market and took a look around. Guys on the curb gave the two detective a wide berth. Voices lowered, but the men kept their eyes on the plain-clothed detectives. Their jeans and polos fooled no-one. The detectives stood out like boiled eggs in a green salad. One man took a step forward as he pinched a joint between his fingers, placed the white stub between his lips and took a long drag. His black dreadlocks fell behind him and trailed down his back as he tilted his head toward the sky and blew out the smoke. He squinted at Romero and Copeland. “Ain’t nobody call no Five-Oh. What you want here?” A young woman put her hand on the man’s arm. Long, red nails rested on his wrist. Her shade of lipstick matched her nails. Her hair was blonde, long, and straight. Skin the color of caramel. “Let it go. You don’t want to end up in jail, or worse—dead.” “Fuck them, baby. It’s just two—” The metal door of the market clanged against the brick wall as a man ran through yelling, “Gun! Gun!” Shots rang out. Screams ricocheted from the interior of the store to the street. The sound of tennis shoes and heels slapping and pounding the pavement

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 1253.32 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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