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  by Brad Thor

(about 540 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:

asked, I’ll tell you. Him we are throwing the book at. Brian Turner is going to prison for a very, very long time. When he gets out, I don’t think he’ll want anything to do with the worlds of intelligence or politics ever again.” That was it then. Helen Carmichael had tried to play the game by her own set of rules and had lost. There was nothing else she could do for now but concede defeat. “If I agree to do what you’re asking, do I have your guarantee that no criminal charges will be brought against me?” Charles Anderson nodded his head. “You have my personal guarantee, and what’s more, you have the president’s.” “And the tape?” “Is part of a federal investigation, but as Brian Turner made a full confession, I don’t see why it would need to be entered as evidence at his trial.” “Will it be destroyed then?” she asked. “No, we’re going to hang on to it as part of your personal guarantee.” “Which is?” “That you’ll graciously retire from politics and never mention any of this, including the name of Scot Harvath or what you believe the president may or may not have done.” “That’s all?” said Carmichael facetiously. “Don’t be cute, Helen,” responded Mercer. “This is a hell of a deal they’re offering you.” “You don’t have to worry, Russ. Cute is something I have never been accused of being. “She then turned to Anderson and said, “So, what will it be to spin around and pull the trigger. “I’m already on Rayburn’s shit list. I don’t need any more trouble. Besides, I could use a cup of coffee.” Harvath eased his finger off the trigger and gently lowered his weapon. So far, so good. Once the guards had left the hallway and disappeared behind the statue of Saint Nicholas, Harvath prepared to kick in the door of the Aga Khan’s chambers. At the last minute, though, he stopped himself and decided to try the handle-it was unlocked. Bringing his MP7 up to the firing position, Harvath pushed open the door with the toe of his boot and carefully stepped inside. Just like the rest of the monastery, the Aga Khan’s rooms were sumptuously appointed. Thick velvet draperies were drawn tight against the windows while ornate chandeliers and Tiffany-style table lamps cast the room in a dim orange glow. Logs stacked upright, A-frame style, blazed in the fireplace. There was a moldy, bookish smell to the place. At the far end of the main sitting room, which looked more like a study or a library, Harvath found the Aga Khan at a large wooden desk covered with scrolls and old pieces of papyrus. The flat-screen TV behind him was tuned to one of the twenty-four-hour cable news networks. Dressed in a plaid button-down shirt and khaki trousers, the Aga Khan looked nothing like a stereotypical Muslim spiritual leader. He sported neither flowing robes nor a long unkempt beard. Balding and slightly overweight

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 2701.94 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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