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Broken Steel

  by Stuart Field

(about 355 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:

judge. She had been a prominent figure, so her career would be all over the web. His search for her cases was made simple by the timeline; all he had to do was find out as much as he could about her, starting twelve years ago. As he combed through pages, he discovered she was a prosecutor and a hell of a good one at that. Steel could see how she’d been shooting through the ranks. He made notes of dates of cases that were relevant to the escaped men. The information didn’t show much, so he would have to find the original files. Sure, he could have telephoned for them, but he wanted to speak to people who might have known the judge to get a feel for her. Had she been fair or brutal? He sat back in his chair and looked at the large monitor on the wall. Even though it was turned off, he used it to focus on as he let thoughts collect and sort. This was a strange case. To that, there was no mistake, but in the end, it would come down to something simple. It always did. However, one thing was clear, and the killer had left notes, which suggested they wanted people to know why they were killing all of those people. That would fit the escapees if it was about revenge, but if that was the case, why try and hold up the investigation? It was clear that someone was called Bulldog sat on a leather couch surrounded by four women, all dressed in bikinis. Bulldog was a bulky man with black hair and a football shirt that hung from his baggy jeans. A sleeveless denim jacket covered his back, and a red patterned bandana was stretched over his egg-round head. He was ugly and full of tattoos and scars, but Steel thought the extras probably improved his looks. The square office had two doors, the one where Steel and the tattooed man stood and one way back at the right wall. The room wasn’t grand. There were no carpets or rugs, or a spectacular wooden floor. It resembled a broom cupboard with a desk. The couch sat along the left wall by a wall unit that was lined with cheap booze. “What the fuck do you want?” Bulldog yelled angrily as he looked at the young man, not registering the blood streaming from his mouth and nose, just that he stood there in his room. It wasn’t until the girls screamed that he noticed the blood and hastened for the back door but found it locked. As the door opened, a guard was greeted by a smash to the face with the tattooed man’s head. The stunned guard fell to the ground with the tattooed man on top of him. Steel leapt across the room and vaulted the desk, hitting Bulldog in the chest, knocking him and a chair over. He grabbed Bulldog by his sleeveless jacket and slammed

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 1775.46 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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