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Foreign Influene

  by Brad Thor

(about 435 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:

could do was wait and hope that the cell’s controller would expose himself. The gas company trucks converged on the mosque from opposite ends of the street. When the officers poured out, they were all heavily armed, armored, and wearing gas masks. Rounds and rounds of tear gas were fired through windows as the officers rapidly advanced on the mosque. Across the country, viewers were undoubtedly glued to their sets. If the cell’s controller was watching, which Harvath prayed he was, all he would be able to surmise was that the mosque his men had been using for their headquarters was compromised and was now under a full-scale assault. The fact that he hadn’t been able to reach any of his cell members would only heighten his anxiety. Very likely, the only question greater in his mind than how the cell had been discovered, was why his men hadn’t yet detonated their explosives. That was what their training would have dictated. The only thing the controller would have been able to attribute the delay to was that the cell members were trying to draw more police officers into the mosque before blowing it up. That sort of deviation definitely would have been against protocol. Their job would have been to detonate, not fight it out or try to take as many officers with them as possible. There was one other option that the controller would have had to consider. He would have to entertain the possibility that the men had shop?” “Right after we’re done with breakfast.” They left Vaughan’s Crown Vic at the restaurant and drove Davidson’s Bronco to the Crescent Garage and Body Shop. Outside, several cabs were double-parked along the street. Men dressed in the traditional salwar kameezlong, cotton tunics over loose-fitting trousers that stop just above the anklesstood in front talking. Many had long beards without mustaches and almost all of them were wearing sandals. Vaughan couldn’t tell if he was in Chicago or Karachi. As the two police officers walked up, the men ceased their conversations and stared at them. Davidson had purposely left his jacket in his truck and all eyes fell to the shield clipped to his belt and the large pistol he wore on his hip. For his part, Vaughan didn’t flash anything. He didn’t need to. They all could tell he was also a cop. With the overhead door down, they accessed the garage via a standard entrance next to it. There were four hydraulic lifts: two on each side. In the far corner was a makeshift painting bay. Tool chests lined the walls and there were fenders, bumpers, mirrors, body panels, and other parts stacked everywhere. At the far end, another overhead door led to a small lot crammed with beat-up taxis out back. The garage was lit with sputtering fluorescents hung from the ceiling. The first thing Davidson noticed when he walked in was a man attaching a medallion to the hood of a freshly painted taxicab

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 2173.08 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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