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Just Kill Them

  by Michael Lesse

(about 316 pages)
78,885
total words
39th PERCENTILE
of all the books in our library
31.47%
vividness
10th PERCENTILE
of all the books in our library
9.95%
passive voice
93rd PERCENTILE
of all the books in our library
3.35%
all adverbs
78th PERCENTILE
of all the books in our library
1.21%
ly-adverbs
73rd PERCENTILE
of all the books in our library
2.14%
non-ly-adverbs
77th 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
up and he became far more expressive. “What do you think? Maybe this is underground, part of a cellar?” Her shrug showed he was right. That was exactly what she thought. “Well, you’d be wrong. You’re at ground level – and this isn’t the first time you’ve been here.” He swept his arm around. “Not that it looked like this, to be fair. But you do know this space.” She looked puzzled. She couldn’t think of anywhere that might have been like this. “I have no idea where we are. My guess is you’ve brought me out of London.” “Top marks. Do you remember when we drove out to Surrey one afternoon and I showed you that house, the one my parents used to live in?” She had to admit it had been a nice day. He’d been in a good mood, talking about how much he’d enjoyed living there as a child. It was set on a large, wooded plot, near Leatherhead. “I remember you saying great location, shame about the house.” “I had it rebuilt, and it was finished a few months ago. The big secret is that you’re actually in my safe room… or, I should say, safe rooms. They’re the same size and built side by side. This is the scruffy one, I’m afraid. They’re concealed behind a wall in the living room. The house is so big that it was easy enough to conceal two rooms within it. That feeling you have of being underground is more than a year ago, laid in supplies. Soon, he had the wood burner blazing away. Electricity came from his own generator, and that was well-stocked with fuel. He knew he could do nothing about the smoke from the chimney and the light in the windows – but he was willing to bank on the isolation to keep him safe. He had bought several bottles of whiskey and half-a-dozen packets of sandwiches from a service station almost half a day ago now. Suddenly famished, he bolted down a rubbery cheese and tomato, followed by a stale ham and mustard. He didn’t dwell on the poor quality. It filled a hole and gave him a lining for the whisky, which he drank straight from the bottle as he couldn’t be bothered to switch on the pump that brought water to the property and would have let him clean a glass. The strong drink did little to calm his nerves, but he was past being sensible. He drank on regardless, eventually falling into an alcoholic stupor as his head slumped forward and the wood burner died out. He didn’t hear the front door being opened just fifteen minutes after he had fallen into drunken oblivion. He didn’t see the two men come in, each wearing a balaclava, and step silently toward him on their rubber-soled shoes. Cross was a dead man the moment he walked into the cottage. He was picked up on the carefully hidden camera with a powerful transmitter that alerted

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 1577.70 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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