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Lethal Lies

  by Rebecca Zanetti

(about 430 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:

There’s no reason to stop livin’ just because we’re being hunted. We’ve run long enough, and it’s time to end this. I agree it’s time to take the fight to Cobb and Madison.” “You’re prepared? You know what we have to do?” Denver asked. “There’s only one thing to do,” Ryker replied just as tersely. Heath breathed out. “Shit, man.” Yeah, he could probably put a bullet in Cobb without breaking a sweat. But Madison? A woman? “I’ll do it,” Ryker said. “I’m not asking you to.” No, he wasn’t. But Ryker couldn’t cold-bloodedly kill a woman any more than Heath could. Not even that woman. “Could go to Montana,” Denver said. “Go off the grid like the Gray brothers have.” Heath rubbed his chest. “There’s no off the grid. They’re safe now, but they won’t be forever. There’s no way they’re not having this same conversation on a regular basis, especially now that our brothers have taken in the next generation and started having their own kids.” Ryker nodded. “Exactly my point. There’s no future and no safety as long as Cobb and Madison are breathing. We want a future, and we have people to share that with. There’s only one way it can happen.” His gaze was stark. “It’s our only option, as much as I hate it.” “Fine. I agree that we’re all in if we go,” Denver said. “We don’t know where they are.” “We can find them,” Heath countered. “We can find Cobb, and I’m and snow toward the sinister lake. The storm threw wild whitecaps up into the air, tossing water in every direction. Sleet and snow smashed into her numb face. Her feet kept moving, but she couldn’t feel them any longer. He grunted and swore behind her, but she didn’t turn to look. The reeds and grass got taller, all covered in ice. She tried to shove through them and reached the lake. No dock. Panting, she looked in other directions. Just trees, mountains, and maybe a couple of darkened cabins? She had to get out of the cold. Bunching her legs, she started to sprint into a run just as strong arms banded around her waist. She yelled and kicked out. Daniel tackled her to the ground, face first. She hit snow, and her forehead bounced against a rock. Stars exploded across her vision. She screamed, her head pounding and the world spinning. He flipped her around and sat on her, slapping a hand over her mouth. She punched out and struggled on the freezing ground, trying to dislodge him. Tears clogged her throat. He pushed so hard against her mouth that her head ground against the frozen dirt beneath the ice. Pain fired along her jaw. He tilted the angle of his hand, cutting off air to both her nose and mouth. “Nice hit with the board,” he hissed, his hold absolute. She clawed at his arm desperately, her lungs swelling in pain. Air. She needed air. Her legs kicked

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 2149.62 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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