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Assault by Fire

  by H. Ripley Rawlings

(about 368 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:

and carnage, Major,” said Chief Braydon, who was sitting nearby and listening as Tyce presented his plan. “Well, I don’t see we have a choice. We can see this as an opportunity, or we can see this as a problem. In either case, the Russians will most certainly come to Parsons.” “I’ll be honest with you all. We don’t want any Russians here, and we don’t want you here, either. We can manage just fine by ourselves. Off the grid and unnoticed is our preference.” “Chief, unless I’m missing something, we’re at war. We have been invaded. We’re all already involved.” “And so now it’s martial law?” “I didn’t say that.” “But that’s what you’re implying. I think if you intend to turn Parsons into a war zone, Mayor Susanna needs to be informed.” “We won’t fight in the city. And that’s fine, you can inform her once we’ve worked through the plan. We don’t have a lot of time to sit around talking about it, though. In ten hours, Russians are going to be crawling all over the place, and I don’t think they’ll treat you all any different than they’ll treat us.” “Why don’t you leave that kind of figuring up to me and the mayor? You don’t have a right to endanger the citizens of the town.” “Damn it, Chief.” Tyce’s blood was boiling, and in a rare display his temper flared. “What are you not understanding? We are at war. Our country has been invaded.” “That’s Forest, West Virginia Sweat streamed down Tyce’s face, out his sleeves, down his pants, and into his boots. It turned to small icicles on his balaclava. The fingers of his gloves were frozen together and stuck to the ski poles. Wet slush in his boots stung his feet, and since running around in his socks at Snowshoe, he’d given up ever feeling his toes. He tried to focus on his ski tips as he slid them back and forward and listened to the others panting next to him. In their last hour of nighttime, the snowstorm abated, then the sky began to turn blue. The first rays of light began to dance atop the pines. In loud whumps, clumps of snow fell free from the high treetops, and for a brief moment of exhaustion Tyce’s brain wondered at the winter’s majesty as thousands of little crystals drifted from the tall pines, through the sun’s light and down to earth. Then he remembered the dull, numb ache of his frostbitten feet. Occasionally, they came to a downhill slope and made two or three miles of good progress. Inevitably, at the bottom of the hills they had to strip off their skis and put on snowshoes. Tyce carefully helped Copper out of his boots, then together they picked their way over a frozen river or cautiously crossed an unplowed road, weapons up and ready. Then began another arduous hike up another steep West Virginia hill and through more dense and unforgiving woods

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 1838.28 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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other books by H. Ripley Rawlings

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