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Chill Factor

  by Sandra Brown

(about 365 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:

you’ve got your medication and a supply of firewood, you could fare on your own until help arrives.” “Are you leaving?” She was stunned by how fearful she was that he would go again. He snuffled a bitter laugh. “I’m tempted, but no. Now that my name has been broadcast, every hillbilly with a deer rifle is going to be on the lookout for me. My hide would be the hunting trophy of the season, and in my present state I’d be easy prey. “No, until I can get some food and rest, you’re stuck with me. But I won’t have you cringing every time I come near you. So if you want to handcuff me to the bed again, I’ll go peacefully. Not exactly willingly, but I won’t put up a fight.” She ducked her head and looked down at the floor, at her own stocking feet, then over at his bare toes, poking from under the wet hems of his jeans. It didn’t take her long to make a decision. “That won’t be necessary, Tierney.” “You’re no longer scared of me?” She looked at him and said simply, “If you were Blue, you wouldn’t have come back.” “But don’t you see, Lilly, I would have had to come back, for my own survival. I would have died out there, one way or the other.” “But you didn’t have to revive me. Blue would have let me die.” “Where would be the thrill in that? Watching you die wouldn’t sofa, his arm across her shaking shoulders. “It’s okay now. I’m back, and you’re alive.” She fell against his chest. He lifted her onto his lap, cradling her like a child, enfolding her in his arms and bending his head over hers. He felt her reflexively clutching handfuls of his sweater. “Shh, shh.” He rubbed his lips against her hair. “Don’t cry, Lilly. You’re not supposed to cry, remember? You don’t want to bring on another attack by crying.” He tipped her head up and smoothed back her tangled hair. Thank God her complexion no longer had the gray cast of death. Cupping her head between his hands, he ran his thumbs across her cheeks to wipe away the tears. Looking directly into her eyes, he said, “Short of dying out there, nothing could have kept me from coming back.” His gaze lowered to her mouth. Her lips were soft, full, pink now, slightly parted, tremulous, damp from drinking water, possibly tears. At the base of her throat, the smooth skin throbbed with each beat of her heart. Curbing the impulses dunning him, he stood up, lifting her with him, and carried her to the end of the sofa, where he lowered them both onto the mattress. He sat with his back against the armrest of the sofa, his feet stretched toward the fire, Lilly on his lap. He guided her head back to his chest, where she rested her cheek. He reached for one of the blankets and pulled

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 1825.26 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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