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  by Iris Johansen & Roy Johansen

(about 408 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:

so that you’d have an excuse not to let me be there for you.” “It wasn’t bullshit.” “Close enough. Be honest, Kendra. We’ve always been honest with each other.” “I would have called you if I’d thought there was a reason to do it.” But she wouldn’t lie to him when she’d just realized that she might have been lying to herself. “I might have been reluctant to have you around twenty-four seven. You can beoverpowering.” “You can handle me.” “I know I can,” she said quickly. “I just don’t like to go to the trouble.” “And it will only be until we find those butchers of your friends. Then I’ll let you go your own way again… maybe. But I can’t worry about you doing this kind of nonsense just to avoid me. You can be as trusting of the human race as you want to be as long as you let me be there to strike a balance. So will you promise me that you’ll give me the chance to protect you even if it’s only from Ariel Jones with her machine gun?” “AK-47.” “Whatever.” He smiled. “It’s important to me. Will you do it?” She couldn’t look away from him. He was using every bit of that charisma that was his stock-in-trade. And what did it matter? Lynch very seldom asked anything from her. It was no defeat because it was her conferring the favor. “I suppose it doesn’t make any difference. I promise I won’t bowl of ramen noodle soup is still warm. The whole apartment smells like it, meaning he cooked it in the microwave with the flavor packet already in the water.” “Even I picked up on that,” Metcalf said. “Hot and Spicy Chicken flavor. I wouldn’t have made it through my college years without it.” “He’s had a guest here. There’s Coke and Diet Coke in the fridge. People generally don’t drink both.” Kendra strode toward the small countertop in the opening between the kitchen and living room. She started to look quickly through a stack of mail. “Has anyone found anything we can use yet?” “No pay stubs or anything indicating where he might have been earning a living for the past six months.” Lynch held up a key ring. “But we did find a spare car key. An Audi.” Metcalf nodded. “Which jibes with his auto registration. He owns a silver Audi TT RS. It isn’t in the unit’s parking space. We have a BOLO out for the car everywhere in the city.” “Good.” Metcalf nodded at the stack of mail. “Are you finding anything there?” “Afraid not. Grocery store circulars, Shoppers Value envelopes of coupons, mostly.” Kendra moved into the kitchen, where she started looking through the drawers. A corkscrew and two stained bottle stoppers in the top drawer showed a preference for red wine. A few tools rattled in the second drawer. Kendra reached for a pair of needle-nose pliers, gripping the steel tip with her gloved hands

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 2041.76 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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