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Warning Order

  by Joshua Hood

(about 341 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:

so pointless. Mason knew that he was slowing down, and even though he would never say it out loud, it scared him. He was only thirty-two, but he felt twice that. His leg bothered him every day, and there was only so much damage a man could take before his number finally came up. But the worst part was that he didn’t know anything else. If he gave it all up, what was he going to do? Mason had always wanted to be a soldierthat’s what he was—and without that one constant, he knew he’d be lost. “You have a family,” he said, turning to look at Grinch. “So? What the hell does that have to do with anything?” “A lot. Zeus and I, we have nothing—this is all we know,” Mason said, opening his arms to encompass the filthy truck. “Is that what you want?” “Why don’t you just call the colonel?” Blaine piped in. “You think he’d let this stand?” “Anderson is the problem.” Blaine was surprised by Mason’s harshness. “What are you talking about?” “I’ve worked with Anderson, back before all of this, and he’s not the guy you think he is.” He turned himself halfway around, so the men in the back could see his face. “You guys know me, you know what I’ve done and what I’ve been through, so I hope you will listen to what I’m about to say. This mission has his fingerprints all over it, and you can freight train, spewing shrapnel and noxious black smoke into the room in a rush of overpressure. Mason let go of the rifle, cupping his hands over his ears. He could only pray that he hadn’t blown out his eardrums. His equilibrium off, he stumbled, retching on the smoke that burned his lungs. He had to steady himself against the wall. The thick haze obscured everything in the room, like premature twilight, and he thought he heard gunfire coming from downstairs over the ringing in his ears. “Zeus, are you good?” he croaked, unable to make out the voices coming over the radio. “Why did you do that?” the Libyan demanded. Mason staggered into the stairwell, his muzzle fixed on the body lying near the top. The fighter’s left leg was ripped to shreds, and beneath pinkish bits of sinewy meat, Mason saw blood squirting weakly from the femoral artery. The blood looked black as it pooled on the step, and above the corpse, dark, jagged fingers marked the spot where the frag had detonated. The explosion had taken off the man’s head, leaving him unrecognizable, but out of habit, Mason still kicked his rifle away. He continued up the stairs he hadn’t known were there until he was standing on the roof. Dawn was breaking in rosy fingers along the horizon, and Mason took a greedy gulp of fresh air while scanning the roof for any additional threats. His attention was drawn to a gray satellite TV dish, pointed skyward

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 1703.38 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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