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  by Cindy Bonds

(about 284 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:

forcing back a wave of emotions. “I’m so sorry everything is disrupted. I’ve tried to speak with him, but he doesn’t seem interested in talking to me.” “Yeah, that seems to be the case lately.” She tucked her legs up underneath her. “Is he, I mean, has he been released?” “Yes, three days ago. He’s staying with me, insisting the men need his help in guarding me. I asked why he didn’t come here, but he didn’t answer.” Her face heated. “I thought things would change once he was discharged and feeling better, but obviously, he’s holding on to something …” she trailed off, trying to keep her tears back. “I want to help you two. Tell me what to do.” Concern and worry etched his features. “You can’t fix this. I can’t fix this. Honestly, I don’t even think Kane can fix this. He’s confused and hurt— two things that make him shut down. I just pray. That’s all I can tell you to do.” “I know you love him. I can see it.” She sighed. “He doesn’t know what love means. Otherwise, he wouldn’t push me away like this.” Jon frowned. “By the way, how did you find out where I am? They haven’t given me any ideas about where you are.” “I guess I have connections.” Jon winked, then stood. “But don’t worry about me, I’ll be fine. I’ll be praying for you and for Kane. Between DeLuca being free and this situation, I’m worried he won’t be straddled her hips, removing his shirt. With his weight on top of her, struggling would only tire her. Bile burned the back of her throat. Her heart pounded. When he reached for his pants, she made a move. Jerking a leg out from under him, she kicked him in the groin. The guard reeled back and crumpled to the ground, moaning. Rolling to her right, she tucked her elbow against her side, bracing wounded ribs, and kicked again, slamming her foot into his chest. She searched the ground for anything she could use as a weapon and came up empty. Macy kicked one last time, nailing the man in the face. Pain seared her side and shoulder. She gasped a series of short breaths. Lord, let that be enough. The dim light allowed her to see the rise and fall of his chest. Breathing, but unconscious. Her body burned. Tremors moved through her, and adrenaline surged. Scouring the room, she found a length of rope. She moved quickly and tied his hands behind his back, shoved a rag in his mouth. After tugging his oversized shirt over her clothes, she stripped his pants and pulled them on over hers, using the belt to cinch them. His boots were too big, but she shoved the too-long pants into them and tied the laces tight. Macy tucked what was left of her hair into his hat, then rubbed dirt across her face and wrapped a dirty bandana around her neck. She cracked

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 1422.38 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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