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Enemy of My Enemy

  by Peter Nealen

(about 331 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:

had been working out better than he’d ever expected. He’d needed to do something. It had been months since the Argentina mission, and while he and Melissa weren’t exactly hurting for money yet, he’d needed to keep his hands and his mind occupied. And not just because he missed the action. If he was being honest, he wasn’t sure how much he really did miss the action, right then. He missed Roger Hancock more. Roger had been short-tempered and volatile, but he’d been one hell of a professional soldier. He’d been one of the pillars of Brannigan’s Blackhearts. And only after his death did Carlo Santelli realize just how much they’d all depended on him. Because now that Roger was dead, Carlo was the next in the chain of command. And he wasn’t sure he was up to the task. It wasn’t that he doubted his capabilities. He’d made Sergeant Major in the Marine Corps and had done the job well for several years. He’d been Brannigan’s Sergeant Major, once upon a time, and that was why he’d been brought in in the first place. He had been one of the few men of his rank that the Colonel had trusted implicitly. But command was another matter. He was getting older, and he was comfortable with the Sgt Major role. It was a support role. He had to worry about the men, their welfare, supply, and discipline. He didn’t have to make the big decisions. He didn’t have to be into the trees, the massive rocky cliffs of the mountains looming overhead on either side, blocking out what remained of the sunlight. The rock walls closed in as they kept going. As the sky turned a deeper blue overhead and everything started to fade into shades of gray, Brannigan watched the canyon walls get closer and closer, until they were passing between rocky cliffs so close that it felt like they were going to rip the side mirrors off. He wasn’t given to claustrophobia, but the knowledge that a single, well-placed charge would bury them forever meant he didn’t breathe easily until they were out of that slot and the valley was opening up just a little. Massive, barren peaks still loomed black against the darkening sky. The road was a faintly pale line twisting up and between them. He was really starting to wish that he’d insisted on night vision, even if it was going to be shitty Russian night vision. As it was, they were limited to what could be seen in the wan cones of light from the Zil’s headlights. They continued winding up into the mountains, the road climbing up out of the valley, though the peaks to the south still rose steeply above them on the left. He couldn’t see much to the right as the gloom deepened in the shadows of the mountains, but he was pretty sure the valley fell off steeply below the road. The gray of the dirt and gravel track

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 1652.94 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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