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Apostle

  by Brad Thor


(about 419 pages)
104,725
total words
of all the books in our library
37.59%
vividness
of all the books in our library
8.28%
passive voice
of all the books in our library
2.77%
all adverbs
of all the books in our library
0.95%
ly-adverbs
of all the books in our library
1.82%
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
a lengthy sip of beer asked, “So now what?” It was exactly the question Harvath had been wrestling with. Technically, he shouldn’t have had any misgivings. His assignment was very straightforward—find Mustafa Khan and trade him for Julia Gallo. For simply agreeing to undertake the operation, Harvath had already been paid five hundred thousand dollars. Bringing Julia back alive would net him another five hundred thousand dollars. He’d be an idiot to screw that up. All he had left to do at this point was to conduct the exchange and the assignment would be over. The problem, though, was that Harvath had decided not to let Khan go. The man was a terrorist, and that’s exactly what he would go back to being. There was no reforming these assholes. You had to either lock them up or kill them. Setting Khan free was an option Harvath was not willing to entertain. Not when it meant more people who didn’t deserve to die would die. There was also the possibility that a man with Khan’s background could be behind the next 9/11 or 7/7 attacks. Knowing he had had him and had released him back into the wild if something like that ever happened was not something Harvath could live with. And the more he thought about it, the more he realized he might not have to. Looking at Gallagher, he asked, “How long do you think it will be before word gets out that the Afghans have weaponsweapons he had provided to them—who were keeping him in their sights. Twenty minutes later, three muddy Toyota Hilux double-cab pickup trucks appeared from the other end of the valley. The convoy splashed across the fast-moving stream and drove up to the overhang. As the trucks rolled to a stop, young men with thick, dark beards and Kalashnikovs jumped out. Like the man next to the ramshorns, they were dressed in traditional Afghan clothing known as salwar kameezbaggy cotton trousers that stopped just above the ankle and loose-fitting tunics that ended just above the knee. They all wore winter coats that came to midthigh. Many slung warm wool blankets referred to locally as patoos over their shoulders to further ward off the cold. Upon their heads they wore pakols, the wide wool hat encircled by a thick, rolled brim made famous by the mujahideen during their war with the Soviets. The men worked quickly and efficiently. Once the gear was loaded, the blue-eyed man climbed into the front passenger seat of the lead vehicle, the driver popped the clutch, and the truck lurched forward. It was a painful, kidney-jarring ride along a rutted road that followed the snowmelt downstream into the valley. As the truck came down hard into yet another pothole, the men in the backseat erupted in a barrage of Pashtu curses. The blue-eyed man tuned them out and stared through the spattered windshield. The landscape outside was windswept and barren. It was hard

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 2094.50 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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