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Blood Rules

  by C. M. Sutter

(about 248 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:

could see what if anything was unfolding. He was sure that Stan had described to the police everything that had taken place there. He was also sure that Stan had described the man who’d helped him escape too. Maybe the cops will be more concerned with the couple who tied us up than they are with me. Luckily, I didn’t tell Stan my name. Robert replayed the last twelve hours. He couldn’t leave anything to chance. It was bad enough that the cops would quickly find out who the cabin belonged to, and the fact that his truck was likely still buried in the snow would prove that Robert had been in Minocqua during the home invasion. There’s no way I could have tied myself up, though. The cops wouldn’t actually think I was involved, would they? But there was also the fact that Stan had had tape covering his eyes. He didn’t know without a doubt whether Robert had been held prisoner or not. Damn it, the cops could point a finger at me as an accomplice. Plus, there’s the sled, the tarp, and the kill tools I left in the woods near the cabin. I’ve got to get there somehow and cover my tracks, or I’ll go down for all of this. That trespassing team just had to pick my cabin to conduct their business in, but I guess when it’s all said and done, I’m lucky to be alive. Robert knew he’d screwed up. He should have Marty. He twisted Marty’s arm until the knife pointed directly at Marty’s throat. “I’m going to kill you, you son of a bitch! My life was fine until you broke into my cabin. Now you’re going to pay with your own life just like Diana did!” Those words sent Marty into a fit of rage. He coiled his legs and kicked Robert with everything he had. Robert flew back, and his head slammed into the door, stunning him. The knife spun across the bathroom floor. Those few seconds gave Marty just enough time to rush him, but with the knife only inches away, Robert grabbed it and plunged it into Marty’s side. He pushed and twisted it deep until the handle was all he could see. Marty writhed and yelled but got off a kick to Robert’s face before falling backward. Scrambling to his feet, Robert righted himself before Marty could get off another kick. He cut his hand on the slippery blood-covered blade yet launched another strike on Marty. That time, he hit his target. Deep-red blood soaked the left front of Marty’s shirt. Robert backed up, raised his leg, and kicked Marty over the side of the tub, causing his head to hit the bottom with a dull thud. Robert dropped down onto the toilet seat to catch his breath. He looked at the motionless man’s legs dangling over the tub’s edge. “Damn, you’re one tough bastard.” Robert stood and looked in the mirror. His face was bloody

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 1239.64 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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