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Danger Close

  by Cameron Curtis


(about 280 pages)
70,083
total words
of all the books in our library
66.07%
vividness
of all the books in our library
6.71%
passive voice
of all the books in our library
1.30%
all adverbs
of all the books in our library
0.37%
ly-adverbs
of all the books in our library
0.93%
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
hollows my stomach. “What will Mary do? She can’t manage the ranch on her own.” “I don’t think she’s thought that far. She’ll probably have to sell.” “And do what? Her parents are gone. So are Keller’s.” Lenson says nothing. I feel restless with frustration. Mary is still in shock. In time she will face insurmountable difficulty. Mary wanted to be a nurse. When she and Keller got married, she continued with her studies. When Donnie was born, she dropped out and never went back. Mary has no qualifications. Soon, this problem will have to be faced. Keller was our brother. Mary and Donnie have become our responsibility. Salem, 1500 Hrs Friday I wonder what it’s like to lose one’s depth perception. Half of one’s peripheral vision. We are visual animals. Our jobs place a premium on visual acuity. “How’s your eye,” I ask. Lenson shrugs. “Time heals. I’m ready to deploy, but they won’t take me back.” The further south one drives from El Paso, the more arid and barren the landscape. The Franklins are behind us. Now all we see is flat land and miles of foothills. “You’ve been out two years.” “Yeah. I did one deployment after my first rehab. My eye started to deteriorate again, so they sent me home.” “To William Beaumont?” William Beaumont Medical Center is the military hospital in El Paso. After being shot, Hancock had been sent there. “Yes. To stop the deterioration, I had more surgery. The doctors said there was the other. We can compare notes after.” I open the driver’s door and step onto Bledsoe land. My boots crunch on gravel. Sticky with sweat, I follow Garrick to the plant’s east gate. Dressed in her signature black pantsuit and designer glasses, Stein walks beside me. She wears sensible, flat-heeled dress shoes, polished glossy black. The faintest touch of dust is visible at the edge of her soles. I imagine her sitting in her hotel room, wetting a finger and swiping the shoes clean. Two security guards wait at the gate. Garrick signs a log, and one of the men leads us to the main building. Two refrigerated eighteen-wheelers stand parked at the loading bay. Scores of pallets are disappearing into their gullets. The guard takes us to the office block and leaves us in the reception area. The decor is clean and modern. White walls, white leather sofas, broad glass coffee tables. There is a desk with two attractive Latina receptionists. They offer us seats, bring us tall glasses of iced water. I’m struck by their understated sensuality. Handpicked. Bledsoe makes us wait half an hour. An obvious power play. Comes downstairs looking exactly as he appeared last night. Stetson, crocodile boots, jeans, brass rodeo belt. His embroidered western shirt is fastened at the throat with a bolo tie. Black cord, silver bolo tips, a turquoise stone set in a silver arrowhead. Garrick shakes Bledsoe’s hand and introduces us. I’m surprised by the man’s flaccid grip. His baby-soft hands

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 1401.66 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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