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Hard Target

  by J. B. Turner

(about 254 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:

her. It was a mess. But he couldn’t help wondering if it was a mess that could have been avoided. He should have just told the Feds where Dyer was and gotten her to safety. But it was pointless to beat himself up over what might have been. He knew that. The reality was Dyer was dead and the fallout at the airport would rumble on. There was nothing he could do to change that now. It was a damn mess. “The press are going to have a field day over this.” “Don’t they always.” “They will have questions. But so do I. A lot of questions, about how we took down Max Charles and at what price.” Reznick stayed silent. “What have you got to say for yourself, Jon?” “I think there are a lot of questions, sure. About how Max Charles could be allowed to act on behalf of the Pentagon. The only reason this went on for so long was because he was working on the inside but accountable to no one. He was doing their dirty work. And what about the deaths of the seven men? What about that?” Meyerstein shook her head. “You know who we’re forgetting in all this? Rosalind Dyer. Her bravery. Who’s talking about how this operation to silence her was carried out? And how she was killed while under FBI protection?” Meyerstein shook her head. “Jon, that’s enough!” “Martha, this was a fuckup. An FBI fuckup. No one should have been jagged glass. He climbed inside. The smell of stale weed smoke filled the dank air. Reznick looked around. Dirty coffee mugs were lying on the floor. The place was dingy and dark despite it being daytime. He switched on the flashlight and looked around. He thought it strange that the hermit hacker wasn’t around. There was no sign of any computer equipment. Reznick headed into the hallway and combed the rest of the apartment carefully. It was a complete mess. Old computer magazines lying around, clothes strewn over chairs and the floor, grungy sneakers. He checked the bathroom. Then a small galley kitchen, with dirty dishes piled high. How could someone live like this? Movement sounded in the apartment below. No doubt a neighbor who’d heard the breaking glass. Reznick went back through the apartment and into the living room. He saw a closet at the far end. He opened it up and shone the flashlight inside. On closer inspection, he saw the ceiling contained an attic hatch. Reznick reached up and pulled the dangling rope. Wooden stairs unfolded neatly into place. Reznick climbed up the steps into the attic. He shone the flashlight around the darkened space between old oak beams. Then the light caught something moving. A pair of sneakers, swaying in midair. His stomach knotted as the light bathed the far end of the attic. Dust particles backlit from a dirty skylight in the attic roof. Flies and moths buzzing around. And hanging by a nylon cord

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 1271.96 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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