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Dead Ringer

  by James D. Mortain

(about 235 pages)
58,803
total words
17th PERCENTILE
of all the books in our library
77.21%
vividness
39th PERCENTILE
of all the books in our library
7.71%
passive voice
39th PERCENTILE
of all the books in our library
2.77%
all adverbs
38th PERCENTILE
of all the books in our library
1.28%
ly-adverbs
78th PERCENTILE
of all the books in our library
1.48%
non-ly-adverbs
8th PERCENTILE
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
Yes,’ the officer acknowledged. ‘That’s right. What are you doing here?’ ‘I… I lived here.’ ‘That was your caravan?’ the lead hand asked pointing to what was left of it. Chilcott turned angrily. ‘How the fuck did it take you over half an hour to get here?’ he seethed. ‘I might have been able to save something.’ ‘I’m afraid we had difficulty finding your location. You haven’t made it easy to be found.’ ‘That’s the way I like it,’ Chilcott mumbled, accepting the point. ‘I’ll send in a couple of the guys to see if we can see what started it. Any ideas?’ Chilcott shook his head. ‘I’ve had a lot on my plate lately. I may have left something on the hob… I just don’t know? Shit! I could do without this.’ ‘Do you have somewhere else you can stay tonight?’ ‘I dunno,’ Chilcott huffed. He hadn’t thought about the practical elements of his predicament. ‘I guess so. I’m sure I can find someone who’ll put me up in the short term.’ He immediately had someone in mind, but didn’t know how they’d respond. The fire officer went back over to his team and briefed them as Chilcott wandered back to his Jeep. He took out his phone and pressed it to his ear over the hum of the fire pump generators. The call was answered after a long delay. ‘DCI Foster… this had better be good, I was in the middle of a date with Tom Hardy.’ ‘Can doorway with a baseball bat raised above his head and smashed it down into Kershaw’s ribs with one almighty blow, forcing all of the air out of his lungs. His sides stung with the splinters of broken bones, but self-preservation-mode kicked in and Kershaw managed to roll away as another furious thrust of the bat narrowly missed his head and sent a small telephone table hurtling through the air as if it was made of balsawood. He scrambled on all fours towards the sitting room, his attacker yelling in incoherent rage in the background. He reached the living room using every drop of adrenalin to get him closer to his goal despite another crushing blow to the back of his knees. They were now both in the same room, his attacker stalking him like a big cat waiting for the final kill. Kershaw sensed the man straddling his buckled legs as he clawed the carpet and heard the whoosh of air as the bat began a high downwards arc. Kershaw’s fingertips reached the Velcro flap beneath the armchair and he pulled the weapon free of its housing. ‘Police. Put down your weapon,’ a voice yelled from somewhere behind, followed by the electric crackle of fifty-thousand volts. The baseball bat fell to the ground inches from Kershaw’s head and as he twisted around he saw his attacker fall face down across his ankles, wires fizzing in his back, his body twitching in spasm. ‘Put down the gun,’ another loud voice sounded

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 1176.06 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.

similar books by different authors

other books by James D. Mortain

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