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Athena Project

  by Brad Thor

(about 325 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
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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:

there might not be any amount of money in the world that would satisfy him. He would be out for blood and that would cause a lot of problems. Buying him off was not the way to go. Threatening him wasn’t the way to go either. Mikhailov was Russian mafia. He had been with the KGB and had risen through its ranks as it morphed into its current incarnation, the FSB. He’d been threatened countless times in his career. Inferior opponents had very likely threatened to harm, or like most bombastic Russian underworld figures, threatened to kill him repeatedly. If Mikhailov was half the man he was thought to be, he would laugh at threats of violence to his person. Abressian reflected on what Mikhailov actually knew. Regardless of what his gut was telling him, all he knew was that his girls were missing and that Cahill was the last person to have been seen with them. He didn’t have any further evidence than that. He had no bodies. And if what Abressian and Thomas suspected was true, he never would. Those bodies were gone forever; never to be found. But the fact that his girls were gone and Cahill was the last to have been seen with them would be enough for a man like Mikhailov to convict and pass sentence. And, as Abressian already knew, Cahill would admit to all of it as he offered anything and everything to the Russian to avoid his wrath. Armen had been vehicle.” Sanders looked toward the gate. Their heavy metal doors were still closed. He tilted his head, but he couldn’t hear a thing beyond the normal sounds of the night. Seconds later, men came out of the guardhouse and opened the large doors. It wasn’t until he saw the halogen headlights of Viktor’s Audi slicing through the darkness of the twisting uphill road that he knew he was close. Only now could he make out the car’s engine. Armen’s hearing was amazing. The low-slung black Audi passed through the gates and crunched across the gravel motor court. It came to a stop in front of the stone stairs and the front passenger door opened. Viktor’s lead bodyguard exited the vehicle first, followed by another bodyguard from the backseat. The driver remained with the car. When the very large bodyguards were content that it was safe for their principal to exit the vehicle, the lead man opened the door and out stepped Viktor Mikhailov. He was a barrel-chested fireplug of a man. At five-foot-five, his diminutive stature was only highlighted by how enormous his bodyguards were. Mikhailov had a completely shaved head and a neck as thick as a telephone pole. He was about the same age as Armen, but any similarity between the two men ended there. Whereas Abressian was dressed in a linen shirt and linen trousers, and shod in tasteful Italian loafers, Mikhailov looked every inch the mafioso—silk shirt, silk trousers, and several pieces of gold jewelry

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 1624.24 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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