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Circle of Lies

  by Paul J. Teague

(about 282 pages)
70,417
total words
29th PERCENTILE
of all the books in our library
61.57%
vividness
14th PERCENTILE
of all the books in our library
10.33%
passive voice
96th PERCENTILE
of all the books in our library
2.81%
all adverbs
41st PERCENTILE
of all the books in our library
0.75%
ly-adverbs
21st PERCENTILE
of all the books in our library
2.06%
non-ly-adverbs
68th 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
what we achieved from the visit,’ Steven Terry interjected. ‘I’m as certain as I can be that you’re right about Harvey Turnbull’s death; I don’t believe it was suicide.’ ‘I don’t want to insult you, Steven, but there’s not a lot of fact to base that theory on. It’s just speculation on your part. We might just as well read the tea leaves.’ Charlotte found Will’s dismissive attitude of Steven Terry to be grating. She liked the man and believed he had some sort of talent or ability. Will hadn’t seen the context in which he’d discovered Fred Walker’s body. She couldn’t begin to explain what it was that Steven Terry did, or how he did it, but she was certain there was something there. Will’s cynicism didn’t help. ‘I get this all the time. Will, it doesn’t trouble me that you struggle to accept what I’m saying. I would just ask that you keep an open mind. If what I’m saying is correct—and I believe it is—then it could place a number of people in a lot of danger.’ Charlotte didn’t want to discuss the details of their own situation in the back of a police car. Steven Terry knew she and Will were hiding something. That was why she was so convinced he was for real. She daren’t share their history with him, when they didn’t know whether he could be trusted. But she’d seen things that Will hadn’t; he’d be less sceptical if he wasn’t the kitchen knife on the edge of the emptied tea chest so she could put out her hands to steady herself as he stepped over the heaped pile of papers. She couldn’t see any signs of gnawing or chewing; perhaps the sound she’d heard was just one of the tea chests falling to the ground? There was a movement directly ahead of her, and the sound of breathing. Something big was in the corner, much bigger than a mouse or a rat. It moved under the legs of a table. Charlotte turned quickly in the darkness, holding her breath in terror. She slid on the papers, desperately trying to find her footing, then fell, striking her head on a piece of furniture that jutted out. With a sob of fear, she scrambled to get up. She had to get out of there. As her hands fumbled to find something to haul herself up with, she sensed movement behind her, then the touch of a cold, human hand. She gasped as she turned around and saw a man grabbing hold of her. Charlotte remembered the kitchen knife, but it wasn’t within reach. She banged at the tea chest next to her head in the hope that it might shake the weapon from where she’d put it down, but instead of dropping to the floor it fell inside the wooden container. ‘Leave me alone,’ she shouted at the man, who was now trying to place his hands over her mouth to silence

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 1408.34 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 Paul J. Teague

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