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Abaddon’s Gate

  by James S. A. Corey

(about 661 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:

frozen lake. “I have been taken prisoner in an illegal mutiny,” the man said. “We can help each other.” She wasn’t entirely sure that she could be helped. Or if she could, what she would be helped to do. She remembered wanting something once. Holden. That was right. She’d wanted him dead and worse than dead. Her fantasies of it were so strong, they were like memories. But no, she had done it. Everyone had hated him. They’d tried to kill him. But something else had gone wrong, and they’d thought that Julie did it. She’d been so close. If she could have killed the Rocinante, they would never have found her. If she’d died on it, they’d never have been sure, and Holden would have gone down in history as the smug, self-righteous bastard that he was. But her father would have known. All that way away, he’d have heard what happened, and he would have guessed that she’d done it. His daughter. The one he could finally be proud of. It occurred to her that the other prisoner had gone quiet. That was fine. He was annoying. Her knees ached. Her temple hurt where it pressed against the floor. They called bedsores pressure sores. She wondered how long it took for skin to macerate just from not moving. Probably a pretty long time, and she was basically healthy. She wondered how long it had been since she’d moved. It had been a long time. She found she was really sorry.” At first the solvent spray didn’t seem to do anything beyond a sharp smell, but then the sealant began ticking, like a thousand insects walking over stone. Gouges and crevasses formed in the sealant wall, then a small runnel of slime. She rolled up a few of the towels, setting them on the floor to catch the flow. Ren’s knee was the first part to appear, the round cap of the bone and death-blackened skin emerging from the melting foam like a fossil. The fabric of his uniform was soaked with fluid rot. The smell hit her, but it wasn’t as bad as she’d expected. She’d imagined herself retching and weeping, but it was gentler than that. When she took his legs to draw him out, they fell away from his pelvis, so she cut the trousers, wrapped the legs in towels, and put them in the toolbox. Her mind was quiet and still, like an archaeologist pulling the dead of centuries before out into the light. Here was his spine. This was the vile slush where the hydrochloric acid in his gut, no longer held in check by the mechanisms of life, had digested his stomach, his liver, his intestines. She drew out his head last, the bright red hair darkened and flecked with matter like an overused kitchen mop. She lifted the bones into the toolbox, packed them with the gore- and corruption-soaked towels, then closed his new coffin, triggered the seal, and set the lock

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 3306.20 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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