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The Wild Dead

  by Carrie Vaughn


(about 290 pages)
72,543
total words
of all the books in our library
44.55%
vividness
of all the books in our library
9.76%
passive voice
of all the books in our library
3.08%
all adverbs
of all the books in our library
1.02%
ly-adverbs
of all the books in our library
2.06%
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
Like my daughter would have. If I’d ever had a chance to have a girl.” She sounded wistful, lost in the moment. “And Ella might have thought she was looking at Neeve. Might have thought she knew you,” Enid observed. The young woman would have been surprised if she didn’t know Neeve had a twin sister. Might even have tried to talk to her, not understanding the danger. “You’re pretty good with a machete, aren’t you, Juni?” Enid said. Still calm, careful. The air fell still, aching with the implication. No one breathed. “I am,” she whispered. “You’d been cutting reeds, so you had it right there in your hand. You were angry because you realized what must have happened all those years ago, what Neeve must have gotten away with—” “She spent all that time away…” Juni murmured. “Yes.” “That girl. The moment I saw her, that young face, that long hair, just like Neeve’s… She smiled at me like she knew me, and she was about to say something, and I couldn’tcouldn’t stand it. If she spoke, that would make her real. I didn’t want her to be real. She should never have been born.” Worst of it was, she was right. Ella shouldn’t have existed. But she did. “We’re not dealing with should-haves, here,” said Enid. “Ella was a living, breathing person. And you’re a murderer.” Juni let out a forlorn, stifled sob. She knew very well what she was. “She didn’t belong. Neeve should be a sprawling, single-story block of a house, was old, a pre-Fall construction. Wood and brick walls sat on a crumbling concrete slab, covered with some kind of plastic siding that was cracked and disintegrating. What strips of it remained were held up with nails, twine, and hope. It might have been blue once, but it had long ago faded to a sickly gray. The siding survived only on the lee side of the house; the windward was built up with wood slats and leather hideslayers and layers of them—evidently replaced as the next bout of wind tore them off. Likewise, the slanted roof might once have had purpose-made shingles, slate tile or plywood, but the decades hadn’t been kind and the surface was now patched with reeds and hides. What was left of the structure still dripped from last week’s bad storm. All that was bad enough, but the land under the house was falling away. Years of storms had eaten at the ground, mudslide after mudslide eroding it until half the house now stood over nothing but air. This last storm had made the problem critical. Huge slabs of concrete lay at the bottom of the slippery hill, the house’s foundation lying in crooked, broken pieces, sliding inevitably toward the river. Tree trunks, two-by-fours, scavenged steel rebar, and rusted scaffolding precariously held up what was left. A house partway on stilts—not like the sturdy pylons of the other structures in the area, but thin and haphazard

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 1450.86 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.

similar books by different authors

other books by Carrie Vaughn

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