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Deadly Driver

  by J. K. Kelly

(about 335 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:

other, sizing things up. So, I’ll play along. Guess I have to, for now, like the patriot I am. But only as long as you brief me on why someone needs to be terminated. For the record, Pete is dead and buried. Also, for the record, I’ve been keeping notes on all the shit the CIA has asked me to do, forced me to do. If anything does happen to me off the track, the international media will get it all.” You’re watching too much television. That’s a bluff. Remember, we have a file on you, too.” I feel like we’re playing chess so here’s my checkmate. The next time I’m at the White House posing with the president and a championship trophy, I may have to mention this little arrangement you’ve boxed me into.” I’ll let you share those thoughts with the new boss once you two meet. You can direct your hostility toward her too if you’d like but from what I’ve been told, she has something better in mind for you. For now, we need to talk about Max Werner. We’ve intercepted enough of your conversations to know you are clean. But Werner, he’s another story. Perhaps we can get together in Barcelona before you fly out and I can share some information you might be interested in.” You’re kidding?” About Werner?” Another knock at the door interrupted them and Bryce spoke with someone without letting them enter. Time to get back to work. I’m sure I’ll 269 feet over water in a Red Bull rally car through the air in Long Beach, California, from a pier to a barge. But the scene unfolding 250 miles to the south on the Baja peninsula was a polar opposite. The vehicle crashed onto a mound of jagged rocks and boulders that had fallen down the mountainside over the decades and collected far below. Something must have punctured the fuel cell as fire immediately engulfed the vehicle. A swirling wind carried the smoke away and through the ravine. Nearly eight minutes later, Bryce slowed to a stop and pulled up to the edge of the cliff. Madigan tapped Bryce’s shoulder again, gesturing with both hands as if to say, What gives? Bryce flipped the ignition switch to kill the engine, lowered the window net and then removed his gloves, unbuckled the shoulder harnesses, lap and crotch belts, unplugged the wires to his helmet headset, removed the neck collar and unstrapped his helmet, placing it on the dashboard. Bryce climbed out and walked a few feet to the edge of the cliff and looked down, gesturing for Madigan to join him. After his navigator had repeated the same steps Bryce had taken, he climbed out and walked toward the side of the cliff. A spot of bright light washed across Bryce’s dust-covered driving suit and then Madigan’s, causing him to stop dead in his tracks. Bryce looked across the canyon and up the mountainside at the source of the blinding light

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 1676.68 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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