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Black Ice

  by Brad Thor

(about 377 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:

one of those things could have been the culprit. Then there was the inescapable truth that he was growing older. With age, he had been told, comes wisdom and pain. They never tell you, though, what form the pain takes. He had always assumed that it would manifest itself as regret—a feeling of loss over bad decisions and roads not taken. His life had certainly been full of both. But as he had been leaving the clinic, the doctor put a hand on his shoulder and stopped him. Yes, he explained, his pain could have been the result of a bad parachute jump, a physically demanding career, or overdoing it on his runs. It also could be something much more serious. Cancer. Despite being a hardened person, someone who had seen humanity at its worst and who was unafraid of taking human life, Han had recoiled at the word. Both of his parents had died from cancer. His older brother and sister too. They had all been smokers. So was he. He knew he shouldn’t be—not with his family’s history—but he hadn’t been able to stop. He had grown up in a family of smokers. There wasn’t a single photograph from his youth where at least one person wasn’t smoking. They were Chinese. It was what they did. Not to do so would have been odd, unusual. And once you started, it was incredibly difficult to stop. Nevertheless, he had tried to trim things back and was below freezing. Harvath started his shopping by selecting a mountaineering jacket—something windproof and waterproof that he could layer clothes underneath to stay warm. Just as important, he wanted a muted color—nothing neon. He wanted a hue that would blend in rather than stand out against the landscape. At this time of year, before the snows had set in, that meant greens and browns. He found a weatherproof jacket from a Norwegian company called Norrøna in dark olive and tried it on. Satisfied with the fit, he picked up a pair of their trekking trousers in the same color, a wool cap, neck gaiter, heavier socks, a fleece, and a pair of gloves. The boots he was already wearing would be fine. Mercer met him at the counter, where he had already stacked up a few items of his own: stormproof matches, a headlamp, a small weapons cleaning kit, cold weather lubricant, batteries, camping snacks, a space blanket, a first aid kit, and a cow call. “He’s paying,” the ex–CIA man said as Harvath walked up and handed his items over to the clerk. Then, looking down at Harvath’s boots, he added, “We’ll also need a can of waterproofing spray.” Once everything was placed in bags and paid for, they left the shop, returned to Mercer’s SUV, and headed back to the safe house. Harvath took stock of where everything stood. Chase had picked up the peanut butter. Staelin had fished the bullets out of the dead bodies

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 1886.12 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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