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All Up

  by J. W. Rinzler


(about 612 pages)
152,968
total words
of all the books in our library
55.47%
vividness
of all the books in our library
6.63%
passive voice
of all the books in our library
1.97%
all adverbs
of all the books in our library
0.71%
ly-adverbs
of all the books in our library
1.26%
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
say it, but we must face facts. We all know it is true, and we must be frank.” Gröttrup, Rees, and Magnus were sanguine. Debus’s face sagged at the corners, and Dieter looked glum. “Let’s not have any illusions. If our rocket had received better treatment, if we had been left alone, perhaps things would be different. We could not have labored harder, but our efforts to help win the war have failed. Now our most sacred responsibility is to preserve our work.” “May I ask why Generalmajor Dornberger is not here?” Dieter asked. “Do not be so naïve!” Debus snapped. “If he were here, he would have to order himself to be shot.” “Of course, Arthur, I have already spoken with the Generalmajor,” Wernher said and sipped his cognac. “We can trust him and, believe me, he is sympathetic to our plight. He is one of us. And so we must come to the crux of it: Germany has lost two world wars in my rather young life. Next time I want to be on the winning side.” “The American side,” Magnus said. “Yes.” He took another sip. “We will put it to an open vote. Both sides, east and west, are going to be pressing hard. We will need to stick together. We have to act as a group to keep our knowledge intact. If we do, we will have a much better chance of surviving what is probably going to be a bloody aftermath.” “It might be white lights and large globes as big as a rich man’s house. The undersides of the globes glowed a dark crimson red, their tops shimmered blue and black. They dived and swooped like falcons before the afternoon sun. The boy marveled at the appearance of two great silver tubes. Their noise grew louder, more threatening, and he looked to his betters for guidance. “Tricks and illusions!” murmured a learned craftsman. “Blood-colored crosses,” said a lean candlemaker. “Like floating cannons,” another remarked. “They come arrayed for battle.” The boy glanced back at his thatched farmhouse, afraid he might be missed and pursued, but no one stirred. He moved closer to one of the finely dressed gentry, who had a black stiletto beard and a twisted stance. He’d never come so close to a rich man, and admired the man’s clothes nearly as much as the strange objects cartwheeling above. Surely the aristocrat descended from the ancient nobility, with his crimson cloak, black vest, and puffed sleeves. A gold band hung around his neck, with a circular gem, a crooked golden spiral set in red clay. Feeling the boy’s eyes, the bearded man cocked his head sideways. “Perhaps I’ve arranged this whole theater,” he said. The boy’s blue eyes widened, but a bright yellow flash made him look to the west. “One of the globes disappeared!” someone shouted. Seven more pale-blue orbs sprinkled the sky, darting in and out of long white clouds. The bright lights of the strange objects reflected orange

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 3059.36 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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other books by J. W. Rinzler

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