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The Shattered Skies

  by John Birmingham

(about 540 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:

she said. “The Sturm will be here soon, and we are better off beating them here, where we have help of a sort, than trying to outrun them. The Javans won’t know we cross-decked you to Ariane. We can easily do that without them finding out. Their tech isn’t as good as ours and we have Hero.” The Intellect pulsed with a proud golden hue. “The local intellects are vastly overmatched by my tremendous capabilities.” Commander Hardy rolled her eyes at Alessia. “Look, he’s not wrong,” she said, even though she did look like she was chewing something sour as she said it. “But it is important that when you get to Lermontov, you stay on the ship with Sergeant Cox and the others. Sephina knows people on that station. So, it’s a sure bet they’re not very nice people. You’ll want to avoid them. The ship will be inspected, but Seph and the others will hide you. Booker will know what to do. It’s a gangstersyacht. There’ll be somewhere. And if Sephina says you have to get out of the system, if she says it’s time to go, then it’s time. Do not wait for us.” Alessia stood up straight and looked her square in the eye. “Because you won’t be coming, will you?” Lucinda’s expression was unreadable, but her answer was clear. “No, Alessia. We won’t.” They said you weren’t supposed to dream in stasis, but they said a lot of shit that turned out to be burned. Half the length of the fuselage was a blackened, melted husk, buried in flame retardant foam. Bodies surrounded it. Bodies lay everywhere, entwined in grotesque parodies of carnality. Arms and legs entangled. Fingers laced through clothing and hair. Heads pulled back. Throats exposed. Teeth sunk deep into flesh. Clothes torn and drenched in blood, not sweat. Eyes gouged. Innards trailing over the deck plating like discarded nightwear. Station gravity here at the surface was minimal and the long, blue-gray loops of viscera floated off the deck plating like blind, giant worms. Some of the marines swore. Cox swore back at them to shut the fuck up and keep moving. Lucinda kept moving. A droplet of some foul organic liquid splashed against her visor, persisting as a brown smear until she sprayed the faceplate clean with a thin stream of solvent from the nozzles in her left gauntlet. In her right hand she kept her personal weapon at the ready. She focused on sweeping her arc with the holo sights of the carbine, glad to be buttoned up inside her armor, breathing clean air. She checked the outside temperature. Twenty-one degrees Celsius. The whole station would reek of death and horror. “Sturm,” one of the marines announced, but without urgency. The marine squad came to a halt, fanning out to provide a secure perimeter while Sergeant Cox examined the body of the enemy trooper. Or the largest part of that body, anyway. The legs and some of the lower torso

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 2698.86 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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