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Wet Work

  by Mark Hewitt

(about 902 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:

to Iraq. I had the bad guys’ pictures. In Syria, with the Wraith, I didn’t know what scenario I’d find. And I didn’t have anyone’s picture. No can do… today. Tomorrow maybe. We might have been able to program them to not attack our guys, using their pictures, and say kill the rest. The problem in Syria was our guys were marched out with bags over their heads. I’m afraid our guys would have been killed with the others. You have to be careful with these things. We really are on the edge of the technology and you have to be smarter than they are.” Lynche asked if he could hold the flying device. Hunter placed it into his hand and said, “Throw it or drop it—it’ll recover itself. They have limitations. In the hunting mode or when they’re armed, they’ll maneuver like an expert and kill anything that moves. With hostages like we had tonight, I think using them would have been too great a risk. I’m sure they would have killed the bad guys but I couldn’t guarantee they wouldn’t kill our guys too. I don’t think the AI… I don’t think with the numbers of men on the ground that they could have distinguished the good guys from the bad. They’re not rocket scientists with ESP. These are about as smart as a dog, a Dalmatian, and I only say that because those beautiful canines are supposed to be dumber than dirt.” Nazy said, “We’ve been furnishings, detailed inlays, and intricate carvings on the sides and legs sat in the middle of the dining room. Hundreds of empty cigar boxes mostly made from cheap wood or cardboard and colored in the brown tints of various tobacco leaves were stacked to the ceiling along one wall, an accent wall as if they were a complicated art nouveau project, a puzzle. No one would dare to pull a box from the middle for fear of toppling the stack. Framed oversized prints of Cassius Marcellus Coolidge’s oil paintings of illegal gambling and poker-playing dogs hung on the walls. A Friend in Need, Dogs Playing Poker, Poker Game, and Pinched with Four Aces. They were soiled from the residue of thousands of cigars smoked in the room. Lamps made from fancy bourbon glass bottles stuffed with cigar label bands sat on several footlocker-sized Buck Cigar shipping containers. A pair of display cases were filled with old and rare cigar bands. The room was a tribute to exotic and unique cigars. Persian and throw rugs from across the Far East covered the hardwood floors, souvenirs from markets found outside the remote airports, where Air America pilots landed and shopped. A distressed sign of a pair of wings and a shield reading Air America hung over the door. The white had turned yellow, the red was a darker shade of mahogany, but the blue was nearly black and the sign was sticky from twenty years of tobacco smoke. Pizza and snacks covered

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 4509.52 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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