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Steel and Shadows

  by Stuart Field


(about 384 pages)
95,948
total words
of all the books in our library
54.81%
vividness
of all the books in our library
6.33%
passive voice
of all the books in our library
2.90%
all adverbs
of all the books in our library
1.15%
ly-adverbs
of all the books in our library
1.76%
non-ly-adverbs
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:

MOST PASSIVE PAGE
MOST VIVID PAGE
is there must be something inside worth getting rid of, don’t you think?’ The captain had to agree: there had to be something really important inside, something worth booby trapping the building and blowing it up rather than letting it be found. ‘Sir, how long could a laser light last for?’ McCall asked Sergeant North. The sergeant looked puzzled. ‘Couldn’t say, really. Why?’ He leant forwards onto the hood of the car and studied at the plan, trying to look busy. ‘Well, how long would it last, unless it was plugged into the mains, which I doubt very much. The fact they’re still working suggests to me that someone had to have recently turned them on.’ The captain now had a bad feeling where this was going. ‘And your point, detective?’ North didn’t have time for games. ‘It means we’ve been set up. Again.’ Sam’s words were bitter. Steel had always maintained his fear of revealing too much on the off-chance of having a mole within the department. Now his uneasiness was hers; she hated the thought that someone in the station could set them up like this. And, try as she might, she couldn’t work out was what this had to do with the dismembered women. Not wanting to risk anyone seeing them through the weathered skylight, they sent up a tactical unmanned drone. The small, nimble craft was propelled by quad rotors and had a built-in camera that could transmit data back so that the room could be got a happy surprise. It’s great to be here.’ Her mother pulled her inside. ‘Drop your bag there and come into the kitchen,’ Sam’s mother chattered over her shoulder as she bustled them along the hallway. ‘I made some coffee and an apple pie.’ McCall didn’t need to be asked twice; as she entered the spacious kitchen a waft of freshly percolated coffee and cinnamon filled her nostrils and tickled her taste buds, prompting her to pause a moment to inhale the rich smell of home. She took a seat on one of the wooden chairs around the pine table in the middle of the room. The kitchen was quite large with old-style fittings, and Sam had always loved it here. The house had a welcoming, homely feel, fitted with a lot of stained-wood-and-brass doors and cosy furniture. McCall’s mother passed over some cups, saucers and side plates, and Sam helped set the table. The older woman brought over a great bone-china pot filled with fresh coffee and a huge pie on a plate that matched the tea set. The daughter poured the coffee, while her mother cut slices of the hot steaming pie and put them on plates. Spooning mounds of freshly-whipped cream onto the side of her plate, Sam dug into the pie with a small fork, the sugar-crusted pastry pressing down upon the fruit, causing chunks of apple and filling to ooze from the sides before the top broke with a mouth-watering crunch. The two women talked

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 1918.96 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.

similar books by different authors

other books by Stuart Field

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