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The Treadstone Resurrection

  by Joshua Hood

(about 348 pages)
total words
of all the books in our library
of all the books in our library
passive voice
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all adverbs
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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:

our radios had. It wasn’t until I went to Team 6 and got a top secret that I got my first peek behind the curtain.” “What’s your point?” Gray huffed. “My point is that I didn’t even know what the fuck a special access program was until after I left the Navy, and I was on the team that took down bin Laden.” “Well, that’s kinda the point of a ‘need-to-know basis,’ don’t you think?” Gray quipped. “Exactly, and right now, all we know is what your buddy Senator Mendez is telling us.” There was silence on the other end of the line, and Black knew he had him. “Forget everything you think that you know about Hayes for a second,” he said. “This guy has a skill set that I’ve never seen before, and I’ve been in this game a long time.” “He’s good, so what—” Gray interjected. “No, I’m good,” Black said, “Hayes… is…” “He’s what?” “Look, I don’t know what the hell he is, but I can promise you one thing, guys like that aren’t born, they’re made, which means he is in a database somewhere. A database we don’t have access to.” “So what do you want me to do about it?” “Well, that’s up to you, but if it were me, I’d walk into Mendez’s office, put a 9-millimeter to his head, and tell him to give me the access I needed, or I’d empty his brain on that five-thousand-dollar desk of his.” “You’ll have that the storm was overhead, the clouds blocking what little sunlight might have made it through the trees. But he kept moving, knowing that he was close. The first drops splattered through the trees. Then the clouds opened up and the rain fell hard and driving against the top of the canopy, like a hammer banging atop an anvil. The moisture drifted down through the canopy, creating a wet fog that cast the jungle floor in shadows of black and blue. Turn back, his inner voice warned. “Fuck no,” Hayes swore, ducking his head against the rain, the bow slick in his hands. Then he heard the buzzing sound emanating from the black shimmering cloud. Flies. As he crept closer, the rotting stench of decaying flesh rose through the wet scent of mud. On the ground he saw a glint of brass, leaves covered in dried blood, and blackened divots that marked where grenades had detonated. But, ultimately, it was a spot of white flesh protruding from the freshly turned soil that marked the final resting place of Ford’s men. Hayes ducked his head in respect and, swearing to avenge the men, soldiered through the rain, crossing the last hundred yards to the slight rise of his overwatch position. He lowered himself to his stomach and, being careful not to expose any part of himself, crawled to the edge. He pulled the spotting scope from his bag and draped the olive-drab netting over the objective lens so if the sun

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 1741.92 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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