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Hard Hit

  by J. B. Turner

(about 267 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:

it was no suicide. She didn’t have proof. She just knew. Callaghan had needed to be silenced. Acosta could see that Brutka had the motive. But she knew the diplomat wouldn’t have done it himself. It would have been subcontracted. Perhaps the hit had been organized at the foreign government level. Had Brutka used a private security firm from abroad? Maybe a member of the Ukrainian crime underworld in the United States. The biggest problem was that Brutka was untouchable. He was being protected. And the State Department had, whether they liked it or not, given Brutka carte blanche to get rid of a journalist who threatened to expose the venality of the diplomat. That was the only logical conclusion. Where would the State Department’s line in the sand be drawn? But there was something else that was bothering her. She had been the one who had pointed Jon Reznick in Callaghan’s direction. She had gotten them together. Reznick no doubt would have passed on the details about his daughter being run down by Brutka, and Callaghan would have shared some of what he knew with Reznick. Had the meeting been compromised? Had Callaghan been under surveillance by those about to do the hit? Had Reznick’s presence with Callaghan alerted Brutka or those close to him that the journalist was one step closer to snaring the diplomat? The bottom line was that Acosta did not know. It was all supposition. But she couldn’t escape the idea that she might’ve been elevator. Brutka rode it alone to the nineteenth floor. The doors opened. The smell of piss and marijuana hung heavy in the air. He stepped out of the elevator and turned right, walking down the corridor to the last apartment, 1903. He knocked hard. The door opened. Carmel, a glassy-eyed young white girl with peroxide blond hair, stood there smiling at him. “Hi,” she said, pecking him on the cheek. Brutka brushed past Carmel, and she shut the door behind him as he slumped down on the sofa. She put on some chill music, then fixed him a single malt scotch on the rocks. He inhaled the peaty, smoky aroma and smiled before knocking it back. His stomach burned with the liquor. “Another one, baby?” Brutka nodded and she handed him another. He nursed this one, watching the amber liquor mix with the ice. Carmel leaned in close. “You got any blow?” Brutka looked at the girl and smiled, stroking her hair. “What do you think?” “You never let me down.” “We’ve got an arrangement. And I always keep my side of an arrangement. But it’s not a one-way street.” Carmel nodded, eyes wide, eagerly waiting for her hit. Brutka took a bag of cocaine and a bag of crack rocks out of the inside pocket of his jacket and handed them to her. Within a few seconds, she was eagerly chopping the coke into several thick white lines on a vanity mirror lying on the stained wooden coffee table

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 1332.78 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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