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The Asset

  by Mark Dawson

(about 355 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:

as they were snagged by competing gusts. Isabella could feel the tiny motes of grit and sand as they were blasted against her cheeks and forehead. A storm was coming, but it was going to be too late. The executions might have been delayed if they had been scheduled for an hour or two later on; but now, just minutes away, there would be no stopping. Isabella was picked up by two men on either side of her: the man who had tackled her to the ground and Abu. They each had her by an arm, and there was nothing that she could do to get away from them. Abu had put her pistol into his belt; she eyed it jealouslydesperately—but knew that there was no way that she could get to it. Even if she had been able to arm herself, there would have been nothing that she could have done. Her anonymity was gone and she was among dozens of enemy soldiers. How could she have escaped? It was impossible. She bitterly regretted her decision to come back to try to help Aqil. It was foolish. Idiotic. She should have run. She’d had the chance to get out of the city and make for the border. She could have done it. Her mother would never have been so weak. Beatrix would have been furious with her. Isabella clenched her fists in frustration. Had she forgotten everything that her mother had taught her? Had it all been delirious, and, when she examined the wound in the bathroom, she saw the pus that was draining from it and the red streaks that led away from the raw entry hole. She could see the wound had become infected. She had decided that he needed urgent treatment. She had helped him to disembark at Kankavli and had taken him to a local hospital. They had been there for a week. The doctors had diagnosed sepsis, and had operated on the wound and then packed it with gauze and left it open to drain. A course of antibiotics lowered his fever, and the infection was eventually successfully treated. The doctors charged twelve thousand rupees per night for a bed; Isabella paid the bill with ten hundred-dollar bills that she found in Pope’s bag. She was going to cook fish recheado for them both that night. It was a Goan dish with a whole fish—in this case a mackerelslit down the centre and then stuffed with a spicy red paste, after which it would be shallow fried. Isabella had prepared the recheado masala the previous night, grinding Kashmiri red chilies, garlic, cumin, peppercorns and tamarind into a smooth but thick paste using vinegar. The masala was versatile and could be used with other seafood dishes; she scraped the surplus into an airtight container, the vinegar in it acting as a preservative. She poured out enough water for the rice and set it to boil on the stove. “Isabella.” She turned

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 1774.36 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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