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The Controller

  by Matt Brolly

(about 422 pages)
105,495
total words
75th PERCENTILE
of all the books in our library
83.02%
vividness
51st PERCENTILE
of all the books in our library
8.38%
passive voice
61st PERCENTILE
of all the books in our library
2.11%
all adverbs
5th PERCENTILE
of all the books in our library
0.53%
ly-adverbs
5th PERCENTILE
of all the books in our library
1.58%
non-ly-adverbs
13th PERCENTILE
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
I don’t want to go.’ ‘It’s fine. I can deal with it. There’s nothing you can do and I’m sure there is an important case you must be working on.’ ‘What does that mean?’ asked Rose. ‘You always have an important case to work on. That’s why you never visit Mum in the first place.’ Rose winced as she took another sip of coffee. She hadn’t thought about the case once since she’d arrived at the hospital but much of what Abigail said was correct. She was failing as a daughter and now it was too late. ‘That’s not why I don’t visit, Abi.’ ‘No?’ Her sister’s tone hadn’t softened. It was the wrong time to have the conversation but Abigail clearly wouldn’t be moved. ‘I realize it’s wrong, Abi, but I can’t stand to see Mum that way. It’s as if it isn’t her.’ Rose was her own fiercest critic and she acknowledged the selfishness in her words. ‘So, you just want to abandon her. Give up on her?’ ‘Of course not, Abi, but it used to destroy me seeing her like that. She didn’t even know my name.’ Rose saw the redness in her sister’s eyes but didn’t go to comfort her. It would be the wrong move at the moment. ‘Don’t you think I feel that way sometimes, Sandra? Jesus, you’re unbelievable. What gives you the right to even say that? She’s your Mother. You wouldn’t be who you are if it wasn’t for her and that’s scratching noise roused him. He blinked his eyes open into darkness. Something was trying to eat his hand. He reached down and swatted the vermin away. ‘Fuck sake,’ he said, patting himself down as the creature ran into the shadows. Somehow he was alive and unbound. Whatever Balfour injected him with was still in his system. He felt nauseous getting to his feet, struggling with his balance in the darkness, the poison polluting his bloodstream. He stumbled towards a crack of light in the distance. He took small steps, fearing he would trip over one of the men Balfour had slaughtered and would not be able to get back up. The air was thick with the smell of cleaning products and he feared he was trapped. He upped his pace towards the light, his steps reckless, and tripped, stumbling head first into a wooden barrier. The impact knocked him backwards and he fell to the ground clasping his head. He waited until the pain subsided. His eyes had adjusted to the darkness and he saw more cracks of light through the wooden panels. Getting to his feet again, a terrible heaviness in his limbs, he reached for the handle. Fearing this was all an elaborate joke, he turned the handle shocked by the glare of sunlight. He fell through the opening, a warm breeze caressing his skin, and vomited onto the stones of the driveway. Darting pains shook through his head as if someone was hammering nails into his skull

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 2109.90 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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