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Breaking Cover

  by Stella Rimington

(about 390 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:

Jasminder could have asked for help as soon as Laurenz Hansen had turned the screw. That had been her fatal mistake, ‘fatal’ now being the word. ‘There will be a memorial service of course,’ Fane said, as he regained his composure. ‘In the meantime we’ll have the press to deal with.’ ‘Yes. That will be bad for a time; the media will blame us – that’s inevitable. It’s more important that you don’t blame yourself. You did what you had to do, and you could have been much harder on her than you were.’ ‘Well, I must have been hard enough,’ said Fane bitterly. Liz realised there was nothing more she could say to help him. She muttered a few more words of sympathy, then Fane said goodbye abruptly. Putting down the phone, Liz looked at an anxious Peggy. ‘Jasminder’s dead, isn’t she?’ ‘I’m afraid so. She was found drowned in the river this morning. She jumped off Tower Bridge last night.’ Tears welled up in Peggy’s eyes. ‘That’s a horrible way to go. She must have been desperate. What on earth made her do… that?’ Then she shook her head abruptly. ‘What a stupid question.’ Liz said, ‘She must have found it impossible to see a way through. She was going to have to leave the Service; she would have had to explain why it hadn’t worked out, and what had gone wrong. It would all have been lies, too, because she wouldn’t have been allowed to explain what had pine chairs. Up the bare wooden staircase he found a bedroom in which a small heater was blowing out hot air. Before turning on the light he pulled the thick curtains tightly across the windows. Then he went downstairs again to explore the kitchen. In the fridge he found beer, wine and vodka as well as some ready-made sandwiches wrapped in cling film, and assorted snacks. He was too tired to eat the sandwiches but he poured himself a generous slug of vodka and took the glass and a plastic carton of stuffed olives upstairs to the warm bedroom. ‘Cheers, Mac,’ he said out loud as he downed the vodka quickly and munched the olives. Then still in his clothes he lay down, huddling under two feather duvets, and fell asleep. He dreamed that he was still in Dubai, looking at watches. Miles woke early, while it was still pitch black outside, and got up straight away. He stayed just long enough to eat one of the cling-filmed sandwiches and drink a large mug of instant coffee, into which he poured the cream off the top of a glass bottle of milk. He put the other sandwich in his pocket; he had no idea where his next meal was coming from. Then he made the bed and washed and dried his mug, leaving the sparsest evidence that anyone had stayed the night. He drove through sparkling snow-covered fields into the rising sun, heading further east across the vast rolling steppes

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 1949.64 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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