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All Out War

  by Sean Parnell

(about 399 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:

I can come to you,” Meg offered, suddenly hopeful. “I don’t think Eric is going to be staying very long. There is this doc here who has some treatment he can use to get him back on his feet.” She knew Demo well enough to know that he was holding something back. “What aren’t you telling me?” she asked. “He’s not thinking straight, Meg. You know how much his mom means to him. He is going to go after whoever did this to her and…” “You need my help.” “Yeah,” Demo said, letting out a breath. The last six months of Meg and Steele’s budding relationship had been difficult. He wasn’t used to being in one place for so long. After merely the second week he started climbing the walls. They went out, did the normal things couples did, but Meg could see that Eric was restless. Jokingly, she told him he was like a cougar, pacing around, searching for prey, but he just glared at her. That, combined with the uncertainty of when he’d be back on active status, hung over their lives like an axe. At least she had one comfort. While they weren’t technically exclusive, they weren’t exactly interested in seeing anyone else. “Eric is a big boy, and I know if it were my family, I’d want to go after them too. How can I help?” “He is totally not ready for a mission.” “That’s it. I’m coming down there.” “I’m serious. That would not be ceilings, marble columns, and a checkerboard tile floor. He walked to the front entrance, where a town car was waiting to take him to the Sabers Club. Sabers, like the Savoy, was a holdover from another era, a time when all-male clubs were the norm as opposed to the exception. A place where middle-aged professionals and stodgy landowners drank scotch in their oversize leather chairs and spoke longingly about the long-lost British Empire. The driver stopped the car in front of a three-story building whose stone blocks had been weathered by time. The Palladian facade and burnished bronze fittings made it look more like a bank than an exclusive club. A severe-looking gatekeeper met Steele at the door. “Mr. Sands, I presume?” “That’s right.” “If you will follow me, Mr. Norman is expecting you,” he announced. The gatekeeper gave Steele a miniature tour as they walked, his voice strong and carrying over the tap-tap of their shoes on the waxed marble floors. “Sabers was founded in 1674, which makes it the second-oldest club in London,” the man said. He motioned to the south wall, where a bank of photos lined up beneath two crossed cavalry swords. He led Steele through an archway and into a large room that had a sitting area, complete with bar and billiard tables near the front and toward the back a row of smaller, private dining rooms with curtained windows. Most of the tables were already occupied by men talking over lowballs of amber-colored liquor

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 1993.94 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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