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Fear Itself

  by James Swallow


(about 337 pages)
84,361
total words
of all the books in our library
39.68%
vividness
of all the books in our library
7.11%
passive voice
of all the books in our library
2.22%
all adverbs
of all the books in our library
0.84%
ly-adverbs
of all the books in our library
1.38%
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
shook her head. “I don’t like this line of reasoning any more than you do, Michael. Saru has served under me for a long time, and he is a valued member of this crew…” “But no matter how unpalatable, we have to consider all the possibilities,” concluded the first officer. “He may be under duress. He may be compromised in some way. Captain, I think security should check out Lieutenant Saru’s quarters. Look for anything unusual, anything amiss.” “I’ll do it,” Burnham broke in. “You’re right, Commander. If anyone knows Saru best on this ship, it’s me.” That might not have been true, but again she felt compelled to defend the absent Kelpien. “I don’t need security to accompany me. I can do it alone.” She looked to the captain. “I’ll be… discreet.” At length, Georgiou gave a nod. “All right, Michael. See that you are.” “Do you have family?” Hekan asked the question as she stared down at the floor of the elevator. The Peliar engineer looked up and met Saru’s gaze. “Is that something your species possess?” “Yes,” he replied, and clicked his tongue. It was a uniquely Kelpien action, a way to fill an awkward pause rather than give a direct answer. “I have been away from my homeworld for quite some time.” Hekan blinked. “All I want is to see my daughters again. Do you think, when they do it, it will be quick?” All at once, he realized that the engineer believed they were being copying Hekan’s tractor target coordinates straight into the firing solutions for the plasma cannons. “Brace for it,” called Hekan as the Tholian ship dove at them. “Ready… ready… now!” Bright emerald lines of light stabbed out from tractor beam emitters all along the upper fuselage of the star-freighter, converging on the slick silvery hull of the spinner and stopping it dead. The energy effect locked hard on to the crystalline vessel and the shock of momentum transfer resonated through the cargo ship’s hull. Power regulators blew out in chugs of hot white smoke, and the bigger craft moaned. Saru wondered what the Gorlans down in the cargo pods were thinking. Was the fear smothering them? Did they feel this, hear that, and believe that their end was at hand? “Not today,” Saru muttered. On the main screen, the Tholian craft struggled against the pull of the tractors, the intercooler grids on its drives burning crimson as it tried to tear away. Hekan coughed through the smoky air. “I can’t hold it much longer!” “Ensign,” said Saru. “Fire all turrets.” “Firing!” Weeton slapped the flat of his palm over all the plasma-gun triggers, and they lit off in a bright ripple of light that converged on the shape of the Tholian attacker. The alien craft splintered, and whole sections of the outer hull cleaved off, exposing glittering innards that resembled seams of glowing magma in a rock bed. It could have shrugged off one or two hits from the plasma cannons

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 1687.22 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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