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Avenging Adam

  by Jodi Burnett

(about 249 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:

sent my mother home.” She grimaced. “She was driving me crazy.” “Is there anyone else who can stay with you? Or maybe you could go to a friend’s?” “Why, did something happen?” He hadn’t meant to frighten her. “No, nothing has happened, but I don’t like the thought of you here alone after being attacked.” Her shoulders relaxed. “I’m sure I’ll be fine. That creep has no idea who I am, or how to find me.” Burke scratched his chin. “How are you doing? Have you been feeling afraid or depressed?” “Not depressed, but I have to admit it is upsetting to think about how close I came to being kidnapped.” Susan tugged at the hem of her shirt. “Do you think he’s the guy who murdered those three other women I heard about in the news?” “It’s a good possibility. We’re grateful to have the sketch you helped the police artist with. And it really helps to know the type of vehicle he was driving too.” “I’m sorry I didn’t get the license plate number.” She wrapped her arms around herself and squeezed tight. Burke stepped toward her and reached out to touch her arm. “Don’t be. You’re home tonight—alive, and safe. That’s all that matters. You’ve been a tremendous help in the investigation. I can’t believe how brave you were.” She smiled up at him. “You really think so?” “Yeah, I do. You were prepared, you kept your head, and followed through with your pepper spray. I’m gestured toward the couch. “Would you like to have a seat, Agent Cameron?” “You can call me Burke.” He lowered himself onto the cushion wondering what made him say that. She smiled. “Can I get you something to drink, Burke? Or maybe you’re hungry? I was getting ready to heat up some left-over chicken and rice for dinner. It’s not fancy, but it will fill you up.” Burke’s stomach growled, and they both laughed. “Sure, that sounds great, if it’s no trouble. What can I do to help?” Susan walked to the kitchen, her bare red-tipped toes peeking out from under the hem of her jeans. She opened the refrigerator. “Why don’t you tear up some lettuce for a salad. Everything is in the veggie drawers.” She pulled out a covered casserole dish and set it on the stove. A set of knives sat behind a cutting board on the counter, and Burke got to work chopping vegetables. Susan plated two servings of the meat dish and heated them in the microwave, filling the tiny kitchen with the scent of roasted chicken and cheese. After a companionable dinner on the couch, the two watched sitcoms on the TV while sharing a large, dark-chocolate brownie with vanilla ice-cream for dessert. “Hey, Burke.” Susan licked her spoon. He met her gaze wondering if she felt as comfortable as he did. “Yeah?” “Thanks for hanging out with me tonight. I suspect babysitting isn’t part of your job description, but I was more nervous

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 1246.16 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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