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The Monster Men

  by Edgar Rice Burroughs

(about 231 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:

is no need of mincing matters—something must be done at once. I do not know how much you know of the work that Professor Maxon has been engaged in since we reached this island; but it has been hellish enough and it must go no further. You have seen the creatures in the campong next to yours?” “I have seen,” replied Bududreen, with a shudder. “Professor Maxon intends to wed one of these to his daughter,” von Horn continued. “She loves me and we wish to escapecan I rely on you and your men to aid us? There is a chest in the workshop which we must take along too, and I can assure you that you all will be well rewarded for your work. We intend merely to leave Professor Maxon here with the creatures he has created.” Bududreen could scarce repress a smile—it was indeed too splendid to be true. “It will be perilous work, Captain,” he answered. “We should all be hanged were we caught.” “There will be no danger of that, Bududreen, for there will be no one to divulge our secret.” “There will be the Professor Maxon,” urged the Malay. “Some day he will escape from the island, and then we shall all hang.” “He will never escape,” replied von Horn, “his own creatures will see to that. They are already commencing to realize the horrible crime he has committed against them, and when once they are fully aroused there will be white man, bull whip and revolver in hand. It was von Horn. The equatorial moon shone full upon him—there could be no mistake. The Chinaman saw him turn and lock the workshop door; saw him cross the campong to the outer gate; saw him pass through toward the jungle, closing the gate. Of a sudden there was a sad, low moaning through the surrounding trees; dense, black clouds obscured the radiant moon; and then with hideous thunder and vivid flashes of lightning the tempest broke in all its fury of lashing wind and hurtling deluge. It was the first great storm of the breaking up of the monsoon, and under the cover of its darkness Sing Lee scurried through the monster filled campong to the bungalow. Within he found the young man bathing Professor Maxon’s head as he had directed him to do. “All gettee out,” he said, jerking his thumb in the direction of the court of mystery. “Eleven devils. Plenty soon come bung’low. What do?” Number Thirteen had seen von Horn’s extra bull whip hanging upon a peg in the living room. For answer he stepped into that room and took the weapon down. Then he returned to the professor’s side. Outside the frightened monsters groped through the blinding rain and darkness in search of shelter. Each vivid lightning flash, and bellowing of booming thunder brought responsive cries of rage and terror from their hideous lips. It was Number Twelve who first spied the dim light showing

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 1156.78 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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