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  by James Swallow

(about 541 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:

them off one by one. ‘You’re using Rubicon assets to play black ops in flashpoints around the world and you put us in danger every time you do it.’ She shook her head. ‘How many times do we have to have this conversation, Ekko?’ McFarlane pointed at the file. ‘You bought a criminal a new life with money from our company coffers. Do you have any idea what would happen if our competitors got hold of that information? Or, God forbid, those animals Garza worked for?’ ‘It had to be done. The opportunity presented itself. It could not be ignored. And good has come of it.’ ‘That’s debatable. These are not opportunities, they’re your addiction.’ She came closer, and her tone briefly softened. ‘There’s so much Rubicon can do that doesn’t need us to break the law. I believe in this organisation. I wouldn’t be here if I didn’t. But your vigilante crusade is going to ruin it.’ ‘You do not understand,’ he told her. ‘I built Rubicon for… my crusade. It is not some game. It is our responsibility.’ ‘It’s really not,’ she replied, shaking her head. ‘Six months ago you said you would reel this in, but you haven’t, have you? The SCD is still operating. You’re still intervening in other people’s fights.’ ‘Someone has to. We have the means, we have the clarity.’ ‘Is that so? Then where does it end?’ McFarlane shot back. ‘If you decide you don’t like the North Koreans playing with nukes, is that made the cables go live, and for a long second, nothing happened. Marc rocked on the balls of his feet. Had he missed something in the connections? Then the pungent ozone smell came back, acrid and harsh in the back of his nostrils. He tasted it as much as he smelled it – the bitter sting of overheating plastic and circuitry. A low and unpleasant hum built up, resonating in his back teeth, and as Marc retreated towards the maintenance ladder, the server began to obliterate itself. Fat blue-white sparks gushed from the faces of the stored drives, searing commas of purple after-image on his retinas, and barking cracks of noise sounded up and down the air shaft. The humming rose into a basso drone that made Marc wince. Sheets of yellow, smoky fire curled out from the racks, and with a crunch of displaced air, the server module went up. A howl of electrical feedback shook through the deck and the service lights winked out, the lifts grinding to a halt. For a moment, the only illumination came from the sunlight pouring down the air shaft, but then emergency battery backups clicked on, pouring a sodium-bright glow over everything. The choking grey smoke from the burning server stung Marc’s lungs as he started up the ladder, his boots clanging off the rungs. It was hard going, but he didn’t look back, and by the time he reached the top the fail-safe chemical powder extinguishers were firing, dousing the flames

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 2703.94 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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