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The Long Reach

  by Michael Lesse

(about 297 pages)
total words
of all the books in our library
of all the books in our library
passive voice
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all adverbs
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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:

in an official sense? “This could be exactly the kind of thing that a rogue team might be capable of doing. They could have come into possession of the details and removed any trace from the records. This stuff could have been there since the start of the 1960s, just waiting for the right time, or opportunity, to be retrieved. “I’ve been running these new details through my Rainbow Spectrum and it comes up as being highly likely. We can dismiss the idea that it is space aliens, but they would have been cautious about retrieving the plutonium. “The chances are that it would be well contained and not giving off any radiation, but why take any chances until you were sure? That’s exactly what I would have done, and from a distance those protective suits do look a bit like spacesuits, so an ordinary member of the public could have been confused. “There is one thing we have to check, and that is with the French. My Rainbow Spectrum gives me a less than five per cent chance that this might have been something the French were doing - a small figure, but we would need to double-check it. “I don’t get the sense that it will turn out to be the French - I mean why would they kill their own police officers? but there is the slightest chance that something did go badly wrong, so it has to be considered. Will you be able to do that?” Hooley was of the immediate area of the school, so he was absorbing the surroundings. It struck him that the DCI had been right about heavy traffic; the high street seemed to be gridlocked with buses, builder’s vans and cars, plus the odd brave cyclist weaving in out of the vehicles. Pedestrians were everywhere. They followed Pete away from the railway station and walked slightly downhill on the left-hand side of the road, passing fast food restaurants and greengrocers, until they reached a cafe. They walked inside, and Pete led them to a quiet table at the rear. The owner came over to shake hands and take their order. He was short and thin, wearing a pristine white apron, and sporting a dark beard. His bright eyes seemed to sum them up instantly. His expression never altered as Roper asked for three bacon sandwiches for himself. “Three?” asked Hooley. “It’s because of that man sitting by the door.” “What?” he shared a quizzical look with Pete. “Didn’t you notice? He had just picked up his bacon sandwich as we came in. It looked brilliant, you could tell the bacon was nice and crispy and it was on proper white bread with butter and tomato sauce.” “I thought you were a wholemeal-only bloke?” “Not with bacon sandwiches. My grandmother taught me that you don’t want bread that’s got too strong a flavour. The point is, the sandwiches here are much better than we can get near the office so, since I am hungry

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 1485.54 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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