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The Tempest

  by John L. Lynch

(about 365 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:

things. It had been a dry year, and the crops had withered despite the irrigation. His cows had been hungry, which had led him to trespass on a neighbor’s land. The transgression had led him to the courthouse and a short jail sentence. It was inconvenient, but he held nothing against his neighbor. He was only doing what he had to do, as Zafir had done what he had to do. Life was hard, and Fate had decided he would be caught. Then the war had come, and his cousin had died at the hands of the Azanians. When the militia officer had offered him a chance at revenge, Zafir had leaped to take it. So had many other men, some who were jailed for serious crimes and would earn their freedom or die trying. Fate had chosen their deaths, all of them. Except for Zafir. He wondered what this meant. He had been chosen to be caught by his neighbor, jailed, and then God’s Fate had killed his cousin and chosen Zafir as the instrument of revenge. Setting fire to the fuel tanks at airfield K-2 had been decisive to the victory, he had heard. The militia had wanted to shower him with rewards. Zafir had refused them as charitably as he could. He had escaped with his life, and Zafir knew that to accept the reward owed to God and Fate would be blasphemous. Again he had been chosen, this time to find the councilman’s family. It was The hot wind increased in strength. The air tore at Zafir’s robes. He found he could not walk straight down the street. The wind blew his steps off course. He sheltered in the lee of a house’s exterior wall and crept forward by feeling the dust-coated stucco surface. The light dimmed further. It was as dark as night without Shaitan in the sky. Orange trails streaked like meteors through the gloom. When the seed pods landed, they burst into flames. Their husks burned brightly and added to the smoke in the air. Zafir smelled the sickly-sweet seeds through his mask. The air itself seemed to be less nourishing. He struggled to breathe in the hot air. Did the fires steal even the air he needed to breathe? A seed whistled through the air above. Zafir saw the blazing trail of smoke for an instant before the pod crashed into the cobblestones at his feet. The pod burst open, and the flammable liquid inside leaked out. The sweet smell filled the air around Zafir as the seed husk soaked up the fluid. The air was full of fumes awaiting a spark to detonate them. Zafir crouched against the wall and pulled the hood of his robe over his face. An instant later, the fumes from the seed pod exploded into flames around him. Burning liquid sprayed all around. His thick cotton robes protected him from flash burns, but the spray covered him like the sneeze of a fire giant. His robes

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 1825.62 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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