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State of Emergency

  by Marc Cameron

(about 413 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:

he said. “I have been planning my entry into the Dakar for many years. The professor has some work to do to make Baba Yaga viable again.” He giggled, taking another cigar from a silver case. “I don’t know about you, but I don’t want to be anywhere near him in case he makes a mistake. What good is an investment if one does not live to spend the profits? Anyway, the race will be great fun, you will see. It will be like a carnival, especially if Mr. Jericho Quinn is there.” Zamora bit the end off the cigar and spit it on the floor. “I do not like him,” Monagas grunted, stooping to pick it up. “I haven’t decided if I do or if I don’t.” Zamora smiled. “But he has pleasant taste in women, doesn’t he? See what you can find out about him.” His thoughts drifted to Cathy for a moment and he gave a long sigh, overcome with melancholy. Not for the stupid brunette, but because he wished he’d not been so hasty to leave Lourdes Lopez in Idaho. He felt the overpowering urge to call the fiery woman. He glanced at his watch and cursed. It was nearly midnight there and she would surely be sleeping… or torturing Pollard’s wife. In either case she would not want to be bothered. Northern Idaho 12:20 AM Marie Pollard sat in the corner on a lumpy mattress that had been thrown on the floor. It was boat slid past a group of chunky capybara grunting in the thick reeds along the bank. A giant ceiba tree grew on a heavily buttressed trunk behind the pig-sized rodents. Hanging moss and aerial ferns hung like decorative feathers from the great tree’s crown, spread high above the surrounding canopy. Troops of squirrel monkeys scolded from the surrounding trees. The rolling hills gradually flattened. Flocks of birds wheeled above open marshes and grassy pampas that reached back in pockets surrounded by the black green of seemingly impenetrable rainforest. The jungle crowded closer as they motored farther north. Dense branches drooped along muddy banks, skimming the brown water. Bo dangled his hands in the water with Aleksandra, who crouched beside him on the floor of the boat. A sudden pop and a whooshing spray caused everyone on the boat to jump. Quinn’s hand fell instinctively to his pistol. He smiled when he saw the patches of slick, rubbery skin break the surface of the water beside the boat. Thibodaux popped another boob biscuit in his mouth. “That’s a good sign, l’ami,” he said. “The little book Adelmo’s bride gave me said that when you see pink dolphins you don’t have to worry about the crocodile caiman things and can go in swimming. Sort of reminds me of home… minus the pink dolphins.” Bo leaned over to take a whiff of his armpits. “I still smell like rosy lilac water.” He grimaced at Jericho, the wind blowing a lock of blond hair

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 2064.66 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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