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Danger in the Hills

  by Jodi Burnett

(about 235 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:

had he started to care so much for Laurel MacNeil? He knew all along they’d have to arrest her. So did she. Why were they both acting as though there might have been some other outcome? Rick dropped his tone. “I got you, man. We’ll take good care of her, I promise.” “Yeah, thanks, Sanchez. I’ll be right behind you with the horse. We shouldn’t have to separate until we get to the snowmobiles.” LAUREL HAD ACCIDENTALLY bumped into Jack’s side when she pushed by him and she was sorry if it hurt him. That wasn’t her intention, but she couldn’t look at him. She’d break down if she did. It wasn’t Jack’s fault they were taking her to jail. It would have happened whether or not she ever met him. This was all her father’s fault. She was furious at him, but the emotion did her no good. He was dead. In her heart she was thankful it was Roger and not Jack who was killed, and that admission came with crushing guilt. Her muscles shivered as though to rid herself of the sickening twist in her heart. Uncertainty over what would happen to her and Wisaka swirled in her gut, making her queasy. But, her greatest fear was she might never see Jack again. She might see him in court, if he had to testify, but she couldn’t bear to hope she’d see him in any other circumstance. What kind of lawman would ever have anything to do gloaming for cover. A loud pop resounded through the forest seconds before a slug rammed into Jack’s chest. He heard a rifle report echo in the hills, half a second after the impact. Then instantly, two more slugs. He flew backward into the air, light as a feather. Air rushed from his lungs as a searing pain burst across his torso. He couldn’t draw a breath. His vision dimmed. Jack reached his hands out to grasp onto something, anything. There was nothing. Cold wind rushed around his head to his face. His lungs refused to pull in oxygen. Pain ignited throughout his body. His shoulder-blades slammed against something hard, immovable. His skull crashed into granite and the sharp tang of copper pressed into the back of his tongue. Agony exploded behind his eyes. Red. Yellow. White-hot light. Then darkness stole him away. Laurel cringed at the gunshot echoing through the trees. Her horse, a big gorgeous paint, pranced nervously underneath her. “Steady, Wisaka.” Two more shots sounded and reverberated through her body. She watched the awkward ballet of the man’s limbs as his wounded form flew into the air, through the canopy of trees, hitting branches on the way down to the ravine floor. Woodland birds screeched, wings fluttering amass, disturbed by his unexpected descent. Wisaka reared in fright, wanting to bolt, but Laurel held her firm. “Whoa, Wisaka. Steady, girl.” Laurel secured her rifle in its leather saddle-scabbard and pressed her horse into a lope as she rode down

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 1172.54 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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