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Dead Man’s Debt

  by Elliott Kay

(about 678 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:

did what he could via computer interface. “What’s the soonest we can expect Brekhov to recover and take action?” Yeoh asked patiently. “Not knowing his medical history and assuming this is his first heart attack—if that’s what it was—he could be awake and aware even now. First-time heart attacks usually don’t kill if aid is rendered right away. But he must be on his second or third course of longevity treatments.” Torres shook his head. “Those first-generation procedures weren’t perfect. If he had a heart attack, it could’ve been bad. They would want to put him to sleep for at least a night, and that’s if they didn’t have to operate.” “That’s what I’m asking, Lieutenant,” said Yeoh. “If it’s his first and he has no complications and luck is on his side, could he be active again already?” “It’s possible,” the nurse confirmed. “Or he could’ve been stabilized long enough to issue orders or whatever before they put him down. But if we haven’t heard anything from him yet, I’d give it at least twelve hours.” “So even though Walters sent the order to withdraw from Archangel,” Beacham considered, “he may get another ship to carry another order to cancel it? Or maybe he already has?” Yeoh nodded. “For all we know, the ships that left with the orders to retreat may have received contradictory instructions before departing.” “If we think he’s dead, we’re not gonna look for him,” Tanner spoke up. “That’s the way they’ll have clothes. Safely hidden away in a bathroom stall, Tanner swiftly pulled off his simple trousers and loose, roomy shirt, revealing the same dark blue work coveralls worn by most of the shipyard’s civilian techs. He rolled down the sleeves of his coveralls and pulled the hems of his pant legs out from his boots. Once he pulled away the thin layers of plastic that coated the leather boots, they looked believably scuffed and old like a shipyard worker’s should. It wasn’t difficult to wear a second layer of clothing and change hairstyles. A quick change like that could fool most casual observers. It wasn’t so easy to hide a second pair of shoes, though, and so professionals paid attention to footwear. Tanner learned that early on in his training for the honor guard and again during MA school. You’ve only worked security on a cruiser, a battleship and Ascension Hall, for Christ’s sake, Tanner reminded himself silently as he balled up his discarded clothing inside the bathroom stall. It’s not like you don’t know anything about this. All you’ve gotta do is think in reverse. The bathroom was empty. Tanner stuffed his previous outfit into a waste basket and moved over to the sink. He’d walked in with his hair neatly combed to one side. A little water, a dissolvable coloring tab the size of a pill and ten seconds with a comb gave him a slicked-back hairstyle with highlights that would fade out again as soon as his hair

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 3390.42 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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