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The President’s Daughter

  by Bill Clinton & James Patterson

(about 528 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:

and in return, he’d give us information on that new software program, MOGUL.” Li slowly blinks behind his glasses. “That’s not what you were supposed to do.” Jiang stares at him, thinking, One of these days, I will have your job because you’re too fat to be out in the field and doing what has to be done to protect the Middle Kingdom. Jiang says, “There was an opportunity. I took it. It will pay off for us.” But what if he goes to the FBI and confesses all?” The jackass thinks I’m working for the tái bāzi, and if he confesses—which I entirely doubt, sir—any blowback will be against Taipei. Not us.” Li says, “That was dangerous.” The odds are in our favor.” Perhaps,” Li says. “You are certainly one for bào dàtuǐ, I will give you that.” Bào dàtuǐ, Jiang thinks, to cling to someone’s lap. In other words, to curry favor. But Li is wrong. Jiang is not currying favor with his boss. He’s setting him up to be replaced at the right time. Li says, “Any other place, comrade, I’d be reprimanding you for exceeding your authority, but I don’t have the time. Something has broken in the news today that will involve you. The daughter of the president has been kidnapped.” Jiang says, “I thought the old bitch was barren.” Li shakes his head. “No, not her. The previous president. Keating. His teen girl was kidnapped.” Jiang is confused, a feeling he hates. “How does the sun starting to rise, the landscape comes into clearer focus. Sand, exposed rocks, low scrub brush. Dirt road that she’s walking on, with occasional ruts where tires have worn through. Low mountains and mesas all around her. Good places to hide; no wonder Asim brought her here. Wherever here happens to be. Getting lighter. She starts looking carefully at what’s on either side of the road, sees empty cans, some flattened cardboard boxes, and white plastic trash bags, which will probably last for another thousand years. There. A broken wooden box, some nice slats. Mel kneels down, tugs out the longest slat. In a flat patch of dirt, she shoves the slat in about a half foot or so, and then sits down, looks at her feet. What a goddamn mess. No sneakers or boots since her kidnapping, leaving her with only strong hiking socks. Over the days the socks have taken quite the beating, gotten torn and worn. Her feet are blistered and cut, but there is no point in taking the socks off without water and soap to wash them and bandages to wrap around her feet. Mel retrieves two of the plastic trash bags, puts her feet in them, wraps them tight. With long threads torn off the edge of her blanket, Mel ties the bags as tight as she can. Hot, miserable, but at least her feet will have more protection. The sun is higher now. Mel goes to the slat of wood she’s stuck

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 2641.48 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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