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Deadly Odds

  by Jean Chapman

(about 273 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:

every minute. This, Cannon could see, was a place that had been loved and cared for over many years. The expansive white ranch house was like a Hollywood film set. A desirable, substantial property a realty agent could say with complete honesty. There must, he thought, be security cameras. Charlie had opted to sit in the back with Babs. ‘We’re nearly there,’ he said, then asked quietly, ‘you all right? You are remembering to breathe?’ She made a noise that was half sob, half laugh, but still she did not speak. She had not spoken since they left the hotel parking lot. Cannon wondered if she was remembering how she had ridden past this same white fencing when she was a girl and had felt she was flying. ‘There’s an old fire engine bell under the porch near the door,’ she said, ‘well, there used to be …’ ‘We’ll soon see,’ Charlie said, ‘we’re nearly there, and then the reunion of a lifetime.’ ‘I am not sure I can go through with …’ Babs suddenly sounded panic-stricken. ‘We could go back, we could …’ ‘Think of Jonathan,’ Cannon said, ‘his whereabouts, his safety.’ ‘And be thankful you have someone left to be reunited with,’ Charlie said bluntly. It sounded harsh, it was harsh, but it was the truth. ‘Yes, yes, but we should have telephoned – prepared them.’ Her voice fell to a whisper, as she decided, ‘It would have been better if I had died, had drowned in a river in Thailand.’ ‘Don’t he glimpsed Betterson’s tall gangling figure in a pale linen suit, coming towards them. He was sporting a rose in his buttonhole, managing to look more American than the Americans, like an up-to-date version of Uncle Sam. There was no hint of recognition as he passed within spitting distance. Not for the first time, Cannon thought that in his own unassuming way, Derek Betterson was quite a man, diplomatically getting things done, quietly achieving aims. Now something was happening, a longish vehicle, almost like a hearse, had pulled up outside the gate. He was not sure how he expected this garland of roses to arrive, but not in a long glass case supported by four ladies, some of the florists, he supposed, all dressed in black and white striped outfits with red scarves. It was quite an event; they carried the garland, more like a horse blanket of perfect red roses, carefully through the cheering onlookers, who were busy trying to angle cameras and iPhones to take souvenir shots. He noticed there were many in little groups who were dressed the same: three men in linen suits not unlike Betterson’s; women looking like twins in size and matching green outfits, with huge single red rose hats, and proud parents all in white, a father carrying a toddler, and all with red and white ribbons like epaulettes on their shoulders and rosettes on their hats. He need not have worried that the idea of dressing several men in the same suits

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 1365.42 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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