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  by Brad Thor

(about 448 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:

put a gun to her head. In retrospect, maybe Harvath should have gone for his weapon. Maybe he should have tried to shoot his way out. If they had taken him down, perhaps he could have taken a couple of them with him. Maybe Lydia and the Corpsman would have joined in. Maybe neighbors would have heard the shots and called the police. Maybe his taking a risk would have saved the others. They were questions that would haunt him for the rest of his life. The one question he didn’t need answered was why he had acted as he did—why hadn’t he pulled his weapon and risked everything? Years before he had met Lara, there had been someone else, someone as near to perfect as he had ever known. But because of him, she had taken a bullet to the head. An assassin, looking to settle a terrible score, had targeted her out of revenge. Miraculously, she had survived, but in almost constant, unimaginable pain. Her one last act of love for Harvath was to leave him, so he could start over again with someone who could give him what she knew she never could—a family. He had been racked with guilt and heartbroken on top of it. He would have done anything to ease her suffering. He would have taken it all upon himself if he could have, but that just wasn’t possible. Instead, all Harvath could do was relive over and over again what had of dark chocolate, a small tin of processed cheese, a pudding-sized cup filled with a chocolate-hazelnut spread, two bags of hard candies that appeared to be caramel, a cherry-flavored drink mix, one multivitamin, two servings of instant coffee, a tea bag, two pouches of dried muesli with dehydrated milk, a nut-and-fruit bar, and a packet of applesauce. In addition, there were three Army-green plastic spoons, six antiseptic wet naps—half were formulated for cleaning utensils and the other half for cleansing human skin—three paper napkins, paper sleeves of pepper and salt, and six rather large packets of sugar with twenty grams in each. An ingenious piece of lightweight machined metal, no bigger and not much thicker than a playing card, was included and could be bent into a tiny camp stove that stood on three legs. Along with it came three hexamine fire tablets, five stormproof matches, and a striker. Assembling the stove and placing a hexamine tab in the center, Harvath ignored the stormproof matches and used a lighter he’d taken off one of the dead soldiers to ignite it. He used his glove to draw his canteen cup back from next to the fire and placed it atop the camp stove in hopes of bringing the water to a quicker boil. Turning his attention to the tin filled with processed cheese, he grabbed the tab and carefully pulled back the lid. He then raised it to his nose and inhaled. It smelled delicious. Picking up a spoon

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 2238.94 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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