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The Vulture Fund

  by Stephen Frey

(about 471 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:

didn’t flinch. “I don’t believe there will be that many.” It was a shot in the dark, but Leeny had raised the money very quickly. There couldn’t be that many investors. The gnawing suspicion suddenly intensified. She had raised the money so damn fast. “This is a little unusual.” “Are you saying you can’t do it, John?” “No, I can do it.” Schuler hesitated. “Maybe you could just give me a little idea of what this is about.” “John, I have a quick question first.” “What’s that?” the banker snapped. He was becoming annoyed at Mace’s evasion. “Leeny has seemed a little strange since that night I left her with you. Do you have any idea what her problem might be?” He needed Schuler to be much more accommodating, and he knew exactly how to make that happen. “No.” Schuler’s tone was suddenly stone cold. “Have you spoken to her since that night?” “No. I thought I was supposed to deal only with you. That’s what she told me anyway. That’s why I’ve been working the documentation on the loan to Broadway Ventures through you.” That was crap. Leeny never would have told Schuler to deal only with him on the documentation. Schuler was lying. He had used her that night, and now he didn’t want to talk to her. He probably hadn’t even told her until afterward that the loan had been approved. That was probably why he didn’t want to talk to her. The little bastard. It was fully register. His hulking form was so foreign to what she expected as she slid the mirrored door across its tracks that she could only stare at his swarthy face and bushy silver-and-black mustache. Janice turned to run, but Vargus was on her instantly, like a huge, agile tiger, throwing her face first into the floral-patterned comforter covering the bed. He overpowered her easily, pinning her tiny body to the mattress beneath his great weight. One huge hand grabbed a fistful of her long, freshly washed hair, pressing her mouth to the comforter so she could not scream, while the other removed a small piece of nine-ply rope from his belt. Deftly Vargus wrapped the twine firmly around her throat, crossed the ends at the nape of her neck, took hold of both ends with each hand, and began to choke her in a viselike grip. The woman’s hands lay trapped beneath her body by Vargus’s weight so she could not resist. Nor could she scream. The twine paralyzed her vocal cords. Vargus smiled down at her as he watched the large veins of her neck begin to bulge. He leaned to one side so that he could see her face as it arched back against his pull. He jerked her neck twice as he pulled, and his lips curled into a tighter smile as he noticed a blood vessel below her left eye burst, filling the skin in the area with purple liquid. She tried to speak, to utter

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 2357.12 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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