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Lethal Promise

  by Paul Stretton-Stephens


(about 350 pages)
87,427
total words
of all the books in our library
38.68%
vividness
of all the books in our library
8.54%
passive voice
of all the books in our library
2.65%
all adverbs
of all the books in our library
0.84%
ly-adverbs
of all the books in our library
1.82%
non-ly-adverbs
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
we were just getting to know each other.” “I’m glad you’re here, Benny,” said Jago. “Carl was just about to tell me why his people have been tailing me, weren’t you, Carl?” Surprised, Benny asked, “Why are your people following Jago? He’s working with us.” “We had to be sure.” “Sure about what?” asked Benny. Carl was uncomfortable, looking from Benny to Jago and Jago to Benny. “We needed to be sure that you, Jago, are stable enough to be working with us. It was a sensible precaution. We needed to be sure that you’re up to the job. I didn’t want to compromise the operation.” “I’m assuming you’ve seen my records, at least some of them?” “Yes, we have.” “Then I’m sure that you understand what I’m capable of and how I tick. I may have suffered a loss, but that doesn’t mean that I’ll be any less professional in my approach to this operation, or any other. It may mean that my resolve is stronger than ever before – and woe betide the perpetrators when I catch up with them. I suppose you Intelligence guys would prefer that we keep the perpetrators alive, so you can interrogate them in some faraway hole in the earth. That may or may not happen; it will depend entirely on them and their actions. Do I make myself clear?” “Yes, crystal clear.” “Now that matter is cleared up, shall we continue?” asked Benny. “I’ll start by asking what intel you have that will noticed that the man’s hands were rough and calloused, and his skin was berry brown, showing that he’d worked outdoors for long periods of time. There was pale skin in a tan mark on his left wrist where he’d obviously worn a wristwatch. Jago questioned why it was missing and where it was now. He also noticed that the man would have been about six foot two or six foot three, and his loose clothing – a pair of well-worn blue jeans and a checked shirt – suggested that at one time he had been thicker set. Jago thought that maybe he’d been ill, or into drugs, drinking or smoking, or any combination of these. “I want a photo of his wrist and then some of the computer system. Can you move the monitor and tower around so I can snap the serial numbers?” asked Jago. Hunter obliged, and then moved the modem around so Jago could photograph the serial number. To the left side of the computer was a small kitchen worktop with a dirty, stinking sink. There was a kettle, tea and coffee, and three mugs on the filthy, fly-covered surface. There was also a dispenser of artificial sweeteners. On the other side of the room was a table with a small box fridge on top, inside of which was fresh milk and ten bottles of Coca-Cola. Jago photographed all of the labels and their dates. Hunter checked the small, foul-smelling bin, which was full of pizza and fast-food boxes

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 1748.54 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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other books by Paul Stretton-Stephens

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