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Black River

  by Tom Harper

(about 392 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 was no reason to think his death was suspicious. No one else seemed to suspect anything. He was more than halfway dead when we picked him up, and he’d endured enough to kill him three times over. He’d seemed to be getting better, true, but that meant nothing. It could have been any one of a dozen things. Snakebites, parasites, malaria, internal injuries … It could have been that the will to live that got him through those weeks in the jungle finally packed up when he was rescued. It could have been he was allergic to antibiotics. I wished I could be sure it was any of those. I’d found him dead that morning, so peaceful in his hammock it was only the flies on him that gave it away. The body was already cold. No marks of violence, beyond what he’d already suffered. Zia was distraught. No wonder: she’d spent half the night sleeping beside a corpse, and lost her only link to Menendez. Anton told me I’d done my best. Drew gave me a hug, and said he was lucky I’d been there for him. I accepted their condolences professionally. They could see I was upset; they thought I blamed myself for not doing enough. I told them that in my line of work, you know you’re going to lose patients. You don’t last long if you can’t put it behind you. And after that, the subject was dropped. Was it superstition, a foreboding we might have the mud beach beside the other boat. Tillman and Drew splashed ashore and hugged Anton. I hesitated. I was still wearing the shoes I’d worn on the flightpathetically flimsy. I thought about taking them off, and then I remembered the bilharzia worms that live in mud and burrow into your feet. I jumped over the edge. Mud sucked at my feet. By the time I’d waded on to dry land, the shoes were ruined. Anton clapped me on the shoulder. ‘You made it.’ He had to shout. Behind him, the machine rattled and hissed as if it was about to explode, while the generator that powered it roared away. It was a strange contraption, a series of rubber belts on stalk-like legs, perched on the edge of a huge crater like a praying mantis. A high-pressure hose squirted out a mix of water, sand and gravel, which churned over the belts until the residue finally dropped into a box at the back. Water dripped through a wire mesh under the belts and landed on the filthiest carpet you’ve ever seen. Except, in a few places, where tiny flakes of gold sparkled in the mud. The filthy men who tended it wore nothing except floppy hats. They looked like trolls, and ignored us completely. ‘And this is Fabio. Our guide.’ He nodded to the man standing next to him: a stocky Peruvian, handsome, wearing an olive-green T-shirt and combat trousers. A gold chain gleamed around his neck. We shook hands

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 1962.10 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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