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Search and Destroy

  by J. T. Sawyer


(about 291 pages)
72,663
total words
of all the books in our library
46.91%
vividness
of all the books in our library
6.25%
passive voice
of all the books in our library
2.58%
all adverbs
of all the books in our library
0.69%
ly-adverbs
of all the books in our library
1.89%
non-ly-adverbs
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:

MOST PASSIVE PAGE
MOST VIVID PAGE
mainframes that Foley had ever seen. He paused before an older man with spectacles who seemed oblivious to his presence as he continued to studiously type on his tablet. Patterson made the requisite introductions, indicating that everyone would now be answering to Foley. “How long before it’s operational?” said Foley. “Two more days of diagnostics, then I’ll know more.” The man lowered the tablet, turning towards Patterson. “I believe we’ll be able to retrieve close to ninety percent of Perseus’ former capabilities, but there is a critical component missing, so that is a blank spot that my staff is going to have to go to work on once we know exactly what is lacking.” Foley thrust his hands on his hips. “Missing? Where the hell is it? I didn’t spearhead this task force just to have Perseus start out of the gate impaired.” “I have my best cyber-analyst on it. He’s picked up an intermittent ghost signal given off by the hard drive, which means it must be pirating other networks whenever it’s activated. However, getting it will have to be left in your hands, as my people aren’t heavy hitters.” Foley and Patterson gave each conspiratorial glances. “Shepard… has to be.” A wolfish grin crept over the colonel’s chiseled face. “He could be just the element that’s needed in your new unit,” said Patterson. “And this time, there won’t be any fucking oversight committees to answer to. He’ll be perfect if I can locate him.” “And if you can selected three types of outfits. The first was for blending in as an average Joe, which meant a pair of jeans, t-shirt, sweatshirt and tennis shoes. He sized out what he needed and then grabbed a few different baseball caps and a pair of sunglasses. The next outfit was formal business attire. He located a dark blue suit coat, a white button-up shirt, a blue tie and a pair of gray dress slacks then found some black dress shoes that weren’t too badly scuffed. The last outfit was semi-casual and involved finding a polo-type shirt and tan slacks. His ankle-high hiking shoes would fit two of his outfits, with the black shoes being reserved solely for the suit. When he was done, he headed to the fitting room, trying on the outfits, then changed into the jeans, t-shirt and tan baseball cap. He made sure the shirts were XL to conceal the small drone and his HK pistol and spare magazine. At checkout, he explained to the girl behind the counter that he was traveling and had clumsily spilled a Coke on himself while eating at the Mexican restaurant in the plaza across the street, so he swapped out his other clothes. He added a tattered daypack to the purchase then stuffed everything inside. He was in and out in twenty minutes. Cal kept his hat low as he made his way towards a pharmacy next door. He bought a dozen power bars, caffeine pills, black hair dye, water bottles

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 1453.26 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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