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The Rescue

  by Steven Konkoly

(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:

there’s a path forward. Which it appears there is, but it’s kind of out of our hands at this point—and we’re trapped here until the situation is resolved. We’re completely relying on Decker right now, which leaves me with an uncomfortable feeling. I thought it would be the other way around.” “I did, too, but things have changed,” said Harlow. “We got him on his feet, running strong. If he convinces Pierce to join him, they’ll be a force to be reckoned with on the ground, but they’ll still need our support. Without it, Decker can only go so far. The team we’ve assembled here will be the deciding factor in the end. I’m convinced of it.” “It’s just hard to see right now,” said Sophie. “Decker is swinging from one loose thread to another. If this Texas lead doesn’t pan out, I’m not sure where we go from here.” “True enough. The only idea I have left is to dangle him in public as bait to get the fish biting again. All we’d have to do is drive him around for a while. City cameras would do the rest of the work,” said Harlow. “I imagine he wouldn’t be very keen about painting a bull’s-eye on his forehead.” “You might be surprised what he’s willing to do to get at these people. It’s actually not a bad idea.” “If we can control most of the variables,” said Harlow. “Which we can’t.” “I don’t know. Katie is expected. The white van rolled in front of the plaza entrance as she furiously typed a text message to her assistant. When she looked up, the tall vehicle mostly obscured her view of the coffee shop. A serious-looking driver wearing an earpiece gave her a passing glance before scanning the street ahead. She squeezed her vehicle through the pedestrian traffic at the crosswalk ahead and parked along a red curb. The car was one of her throwaways, so she didn’t care if it got towed, though she hoped her assistant could move it before the tow truck arrived. It all depended on what happened in the next ten minutes. Her feet hit the street seconds later, carrying her swiftly between the slowed traffic toward the other side. Pretending to be absorbed by her phone, she reached the sidewalk and merged with the eclectic mix of Little Tokyo tourists and locals headed toward the plaza. Harlow was invisible to them now, dressed in Southern California’s patented “might be working out or might be running errands” outfitpurple backpack, black yoga pants, tight midriff top covered by an unbuttoned, long-sleeve studio wrap. Olive-drab ball cap with jet-black ponytail pulled through the back. A fit-looking man wearing hiking boots, cargo shorts, and an untucked navy polo shirt got out of the van’s front passenger door and blended into the plaza’s foot traffic. Not a bad disguise, except for the boots. She turned into the plaza and headed for the café, keeping her eye

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 1996.10 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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