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  by Natalie Grey

(about 213 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:

was before,” he said precisely, “was nothing. I was useless.” “Not true.” Tafa shook her head. “If that were true, Barnabas would never have enhanced your abilities. “Barnabas fights from his heart, Gar. His abilities… they aren’t him. He could be in that body with the strong bones and the speed and all of it, and he still wouldn’t be able to do what he does without his belief. That’s why he chose you. Because you have that, too. Not because he thought you’d hit the hardest when he upgraded your body.” Gar realized he was shaking. Ever since he’d left Luvendan he’d been the weak one; the fragile one. Everyone he’d met looked him up and down with contempt. In his work he’d held the uneasy position at the top of the ladder, ordering people around who could have easily killed him—and had often wanted to. Leaving that physical weakness behind had been everything he wanted. And yet… “I’m more afraid now than I was when I was weak.” The sentiment made no sense, but it was true. Tafa nodded. “That’s what the red is. It’s fear. You fear and hate weakness because you believed it defined you. But it never did, Gar. You could be what Barnabas is, but until you accept what you were, you never will.” He said nothing, and she moved toward the door to give him some privacy. “What is Barnabas?” Gar called after her. “You say I can be what he is the generals responded promptly and with force. A missile hurtled through the trees. Barnabas swore and tackled Gar sideways, pulling his coat over his head. There was a moment of searing heat, then the missile finally hit the ground a few dozen yards away. It landed just in front of the city walls and exploded in a shower of dirt and stone. The response from the Jotun town was instantaneous. Several cannons belched smoke and fire, and munitions arced overhead. From amongst the trees, Barnabas heard the soldiers roar as they charged. “Between a rock and a hard place,” Barnabas said succinctly. A mech appeared first, crashing through the trees on a series of heavy, spidery legs. Barnabas ran, taking a bounding leap and pushed off a tree to land on the mech’s top. He drew back his fist and punched down with all his might, significantly denting the metal. Still, it appeared that wouldn’t be the best strategy. He frowned. You could try opening it, you know. I’m sure it’s locked. Just try it, Shinigami urged. Barnabas rolled his eyes and hauled on the handle of the top hatch, which opened so easily that he lost his balance and nearly tipped off the side of the mech. Men. Shinigami scoffed. A soldier popped up through the now-open porthole with a rifle, scanning around. You see, falling off the side was useful. Barnabas clawed his way up, grabbed the barrel of the gun, and used it to haul the soldier

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 1064.92 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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other books by Natalie Grey

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