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Dead Water

  by Russ Snyder


(about 371 pages)
92,692
total words
of all the books in our library
33.60%
vividness
of all the books in our library
9.25%
passive voice
of all the books in our library
3.05%
all adverbs
of all the books in our library
1.24%
ly-adverbs
of all the books in our library
1.81%
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
I’m trying to figure out if these CIA guys are here because of us or if it’s a coincidence. Let me ask you something. Is there any way our jet can be traced to us?” He was quiet for a few moments before answering, “No, not directly. It’s registered as a federal government aircraft, but it’s considered a loaner. There’s no easy way to say who might have it on any given trip.” Then he added, “But say Phillips wanted to find out. I have no doubt that using her black magic on those computers of hers, she could. And if she could, we’d have to be really naive to think it were impossible for someone else not to be able to do it. She’s already told us that this CIA bitch is nosing around. My guess is it’s at least fifty-fifty she may have put it together. If she’s done that, I’m betting there’s also a good chance that they think there just might be a bit more to DPO than what is officially acknowledged.” “I was afraid you were going to say that. I’m kind of surprised Phillips didn’t offer that possibility.” “That would be a guess on her part, and we know how much Phillips doesn’t like to guess. I’d bet she’s already looking into it, and when she has something definitive to offer, our phones will start ringing.” “What do you think about this? Say they did follow the plane here. What would you think would cooking breakfast at the Ranch the next morningscrambled eggs with pepper jack cheese, homemade biscuits, thick slices of ham, orange juice, and a special Green Mountain Coffee she’d brought with her. “To what do we owe this?” asked Starr. “You can thank Styles,” she answered. “How’s that?” Christman queried. “Easy. He made dinner last night. I don’t think I could take two meals in a row from him,” Phillips retorted. A moment of silence was quickly followed by genuine laughter. “Speaking of, just where is Mr. Sunshine? I haven’t heard a peep from him, and I got up early.” “Your early and my early are about three hours apart,” a voice said coming in from the side of the house. Everyone looked over as Styles walked into the room. “And forgive me for pointing this out, but just who had two very large bowls of beef stew last night?” “Desperate times call for desperate measures,” Phillips deadpanned right back. “Any more desperate and you probably would’ve swallowed the bowl,” Styles gave it right back. “Breakfast does smell good, though.” Everyone grabbed plates and silverware and then served themselves buffet-style. Phillips had cooked a generous amount of everything, so no one was bashful. “Eat up, guys. Don’t want it on the pancakes in the morning,” Phillips cracked. “Not gonna have to ask me twice,” said Starr. “Me either,” chimed in Christman. “Guess I’d better eat too. Don’t want to hurt little Miss Frail’s feelings here,” Styles joked as a biscuit

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 1853.84 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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