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Dreadnought

  by Mark Walden


(about 262 pages)
65,450
total words
of all the books in our library
42.11%
vividness
of all the books in our library
7.42%
passive voice
of all the books in our library
3.18%
all adverbs
of all the books in our library
1.59%
ly-adverbs
of all the books in our library
1.60%
non-ly-adverbs
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:

MOST PASSIVE PAGE
MOST VIVID PAGE
Everything is going according to plan.’ ‘Darkdoom will cooperate?’ the woman on the left asked. ‘Yes, he has little choice,’ Drake replied. ‘Capturing his son was an unexpected bonus. We always feared that he might have been prepared to sacrifice the lives of the Dreadnought’s crew rather than do what we asked, but there was no way he was going to refuse when his son’s life was at stake.’ ‘Has he been transferred to the Dreadnought yet?’ the man on the centre screen asked. ‘It should be happening as we speak,’ Drake replied. ‘His son will now be joining him, of course, to ensure his ongoing cooperation. What do you want me to do with the other prisoners?’ ‘Execute them,’ the man on the right-hand screen replied coldly. ‘All of them.’ ‘You’re sure?’ Drake asked. ‘They may yet be useful.’ ‘Quite sure,’ the man replied. ‘Once the Dreadnought is airborne they are surplus to requirements. They might have been useful had we managed to capture Nero but now they’re just irritating loose ends. Dispose of them.’ ‘As you wish,’ Drake said. ‘Furan wishes to keep Raven alive though. He believes he can turn her.’ ‘He is playing with fire,’ the woman said angrily. ‘She is too dangerous to let her live.’ ‘I’m afraid I have to agree,’ the man on the centre screen said. ‘It’s an unnecessary risk.’ ‘I shall inform him of your decision,’ Drake replied. Furan would not be happy, but the other Disciples were right: they had through the knee-deep snow, her breath escaping in ragged gasps, leaving a trail of thin white cloud that hung in the air. She could hear the sounds of pursuit all too close behind her, the barks and snarls of dogs and the coarse shouts of the men who followed them. She could hardly feel her bare feet and lower legs any more as she plunged on through the deep icy powder, the dark ancient trees of the forest surrounding her in all directions. She wore nothing but a tattered dark blue dress made of a rough material that offered little protection from the biting cold. As she ran over the crest of a small hill, the girl tripped on a rock concealed beneath the blanket of snow and fell, tumbling down the slope. Staggering to her feet, she spotted the vague outline of a cottage, its dark walls half buried beneath deep white drifts. She stumbled towards it, desperately rattling the handle of its only door. It was locked. The girl gritted her teeth and kicked the wooden door hard, ignoring the pain in her foot. The door refused to budge. She cursed under her breath and kicked again, harder. The ancient lock gave way and as the door flew inwards the girl half staggered, half fell inside. She quickly shut the door behind her and looked around the darkened room. It was obviously a hunting lodge: stuffed animal heads were mounted on the walls and animal skins were scattered

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 1,309 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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