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The Nazi’s Son

  by Andrew Turpin

(about 416 pages)
total words
of all the books in our library
of all the books in our library
passive voice
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all adverbs
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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:

right up north to the Norway border—it was just too far. Belarus was a possibility, but the border was about 300 miles away from St. Petersburg. The other question was, How would they travel? Severinov assumed it would be obvious to Johnson that his chances of making it in Katya’s red Škoda were probably zero. The car would be easily traceable. So, what would he do in Johnson’s position? He would switch to another vehicle. Would he and Katya buy a car? Severinov considered it unlikely, unless they made a cash purchase and didn’t register the vehicle. They wouldn’t want to leave an electronic footprint of the transaction. But buying a car would be time-consuming, and time was not a commodity they had much of. Would they steal one? That would be a quick solution, but again, not very likely since, unless they were lucky, the owner would report it stolen and alert police very quickly, raising the likelihood of being caught. No. The most likely scenario, in Severinov’s view, was that Katya would borrow another car from someone she knew. And that would be someone in St. Petersburg. But who? Another thing that was puzzling Severinov deeply was why Katya Yezhova had teamed up with Johnson and was helping him to escape. By doing so, she must know she was putting her life at risk. It was of course possible that Katya’s father had given her information that would be of use to foreign intelligence agencies, which she could electric oven, and a large fridge that had yellowed with age. The only modern appliance was a gas boiler that hung on the wall next to the cooker. The sofas were covered in a worn floral pattern that had a number of holes. Nina’s husband, Ivor, who had a mop of white hair that made him look like an eccentric professor, did not move from his armchair in the living room the whole time they were there and only spoke briefly, when his wife asked him if he would like tea. Johnson watched as she heaped several spoons of dry tea leaves into a teapot and poured in boiling water from a rusting old electric kettle. Normally a coffee drinker, he sometimes enjoyed tea for a change. But the concoction that Nina produced was the thickest and darkest he had ever seen, even in Russia, where on previous visits years ago he had gotten used to the traditions of strong tea. He wondered whether Nina would have to cut it out of the pot with a knife. After she had left it to brew for several minutes, she poured it into cups but filled them only halfway. Then she indicated to Johnson to top off his cup with hot water if he wanted to dilute it and to take his pick from cups of sugar and honey, and a lemon that had been cut into slices. Johnson put a spoonful of honey and a slice of lemon in his tea

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 2079.10 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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